Adobe Audition

®

User Guide

Legal Notices
Copyright
© 2003 Adobe Systems Incorporated. All rights reserved.
Adobe® Audition™ User Guide for Windows®. If this guide is distributed with software that includes an end-user agreement, this guide, as well as the software described in it, is furnished under license and may be used or copied only in accordance with the terms of such license. Except as permitted by any such license, no part of this guide may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, recording, or otherwise, without the prior written permission of Adobe Systems Incorporated. Please note that the content in this guide is protected under copyright law even if it is not distributed with software that includes an end-user license agreement. The content of this guide is furnished for informational use only, is subject to change without notice, and should not be construed as a commitment by Adobe Systems Incorporated. Adobe Systems Incorporated assumes no responsibility or liability for any errors or inaccuracies that may appear in the informational content contained in this guide. Please remember that existing artwork or images that you may want to include in your project may be protected under copyright law. The unauthorized incorporation of such material into your new work could be a violation of the rights of the copyright owner. Please be sure to obtain any permission required from the copyright owner. Any references to company names in sample templates are for demonstration purposes only and are not intended to refer to any actual organization. Adobe, the Adobe logo, Adobe Audition, Adobe Premiere, and After Effects are either registered trademarks or trademarks of Adobe Systems Incorporated in the United States and/or other countries. Apple, Macintosh, and Mac OS are trademarks of Apple Computer, Inc., registered in the U. S. and other countries. Microsoft, Windows, and Windows NT are registered trademarks of Microsoft Corporation in the U.S. and/or other countries. MPEG Layer 3 audio compression technology is licensed by Fraunhofer IIS and Thompson. mp3PRO audio coding technology licensed from Coding Technologies, Fraunhofer IIS and Thomson Multimedia. All other trademarks are the property of their respective owners. Supply of this product does not convey a license nor imply any right to distribute MP3-encoded or mp3PRO-encoded data created with this product in revenue-generating broadcast systems (terrestrial, satellite, cable, and/or other distribution channels), streaming applications (via Internet, intranets and/or other networks), other content distribution systems (pay-audio or audio-on-demand applications and the like) or on physical media (compact discs, digital versatile discs, semiconductor chips, hard drives, memory cards and the like). An independent license for such use is required. For details, please visit http://mp3licensing.com Contains an implementation of the LZW algorithm licensed under U.S. Patent 4,558,302. Notice to U.S. government end users. The software and documentation are “Commercial Items,” as that term is defined at 48 C.F.R. §2.101, consisting of “Commercial Computer Software” and “Commercial Computer Software Documentation,” as such terms are used in 48 C.F.R. §12.212 or 48 C.F.R. §227.7202, as applicable. Consistent with 48 C.F.R. §12.212 or 48 C.F.R. §§227.7202-1 through 227.7202-4, as applicable, the Commercial Computer Software and Commercial Computer Software Documentation are being licensed to U.S. Government end users (a) only as Commercial items and (b) with only those rights as are granted to all other end users pursuant to the terms and conditions herein. Unpublished-rights reserved under the copyright laws of the United States. Adobe Systems Incorporated, 345 Park Avenue, San Jose, CA 94110-2704, USA. For U.S. Government End Users, Adobe agrees to comply with all applicable equal opportunity laws including, if appropriate, the provisions of Executive Order 11246, as amended, Section 402 of the Vietnam Era Veterans Readjustment Assistance Act of 1974 (38 USC 4212), and Section 503 of the Rehabilitation Act of 1973, as amended, and the regulations at 41 CFR Parts 60-1 through 6060, 60-250, and 60-741. The affirmative action clause and regulations contained in the preceding sentence shall be incorporated by reference. Part number: 90047223 (07/2003)

iii

Contents
Legal Notices Copyright . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ii Introduction Getting Help . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 Registration ...................................................1 .............................................1 Customer support

Adobe Audition at a Glance Sound Your Best . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 Work Efficiently ...............................................4 ...........................................5 Use Integrated Tools

Chapter 1

Key Concepts of Adobe Audition Destructive and Non-Destructive Editing Real-Time Preview Multitrack Session Files

.......................7

............................................8

.....................................................8 ..................................................9 ...................9

Working with Premiere Pro and After Effects

Chapter 2

Looking at the Work Area Edit View and Multitrack View

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 . . . . . . . . . . . . . . . . . . 13 . . . . . . . . . . . . . . . . . . 13

Switching from Edit View to Multitrack View Switching from Multitrack View to Edit View Dockable Windows Placekeepers Toolbars Files Pane Effects Pane Favorites Pane Drop-down Menus Organizer Window

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

Wave Display/Session Display

iv CONTENTS

Presets

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

Graph Controls Level Meters Show Valleys Zoom Buttons Time Window Status Bar

Transport Buttons

Sel/View Controls

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

Window Menu – Edit View

Chapter 3

Wave File Formats Supported by Adobe Audition 64-bit doubles (RAW) (.dbl) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29 8-bit signed (.sam) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33 A/mu-Law Wave (.wav) ACM Waveform (.wav): Amiga IFF-8SVX (.iff, .svx) Apple AIFF (.aif, .snd) ASCII Text Data (.txt) Audition Loop (.cel) Dialogic ADPCM (.vox) DVI/IMA ADPCM (.wav) Microsoft ADPCM (.wav) mp3Pro® (.mp3) Next/Sun (.au, .snd) SampleVision (.smp) Windows PCM (.wav)

Creative Sound Blaster (.voc) DiamondWare Digitized (.dwd)

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

Windows Media Audio(.wma) PCM Raw Data (.pcm) (.raw)

Chapter 4

Navigating the Edit View About Edit View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37 Navigating the Wave Display Waveform View/Spectral View Horizontal Ruler . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

v

Vertical Ruler

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

Recording in Edit View

Wave Display Right-Click Menu

Chapter 5

File Menu – Edit View New . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45 Open Open As . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48

Open Append

Extract Audio from Video Extract Audio From CD Revert to Saved Close

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51 . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

Close All Waves and Session Save Save As Save All

Close Only Non-Session Waveforms

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53

Save Selection

Batch File Convert Flush Virtual File MRU List Exit

Free Up Space in Temp Files

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

Chapter 6

Edit Menu – Edit View Undo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61 Enable Undo/Redo Set Current Clipboard Copy Cut Paste . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62 Repeat Last Command

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63

Paste to New Mix Paste Copy to New

Insert in Multitrack

vi CONTENTS

Insert Play List in Multitrack Select Entire Wave Delete Selection Delete Silence Trim Zero Crossings Find Beats Auto-Cue Snapping

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75

Group Waveform Normalize Out of Band Peaks Adjust Sample Rate Convert Sample Type

Chapter 7

View Menu – Edit View Multitrack View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79 Waveform View Spectral View Show Cue List Show Play List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88

Show Organizer Window Creating Cues and Ranges Show Transport Buttons Show Zoom Buttons Show Time Window Show Level Meters Show a Placekeeper Display Time Format Vertical Scale Format Toolbars Status Bar Show Sel/View Controls

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89

Wave Properties

Chapter 8

Effects Menu – Edit View Invert . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97 Reverse . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97

vii

Silence Amplify

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .100 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .103 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .102

Amplitude

Binaural Auto-Panner Channel Mixer Envelope Normalize Pan/Expand Delay Effects Chorus Delay Echo Flanger Dynamics Processing Hard Limiting

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .109 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .110 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .113 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .114 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .116 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .112

Stereo Field Rotate

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .116 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .120 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .121 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .125 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .123 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .128 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .130 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .135 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .138 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .141

Dynamic Delay Echo Chamber Full Reverb QuickVerb Reverb DirectX Filters

Multitap Delay

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .139 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .143 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .144 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .144 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .150 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .151 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .155 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .146

Sweeping Phaser

Dynamic EQ FFT Filter

Graphic Equalizer Notch Filter Quick Filter

Graphic Phase Shifter Parametric Equalizer Scientific Filters Noise Reduction Clip Restoration Hiss Reduction

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .153 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .157 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .158 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .160 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .161 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .166 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .167

Click/Pop Eliminator

. . . . . . . . . . . . . .208 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .183 . . . . . . . . . . . . . . . . . . . . . . . . . . . . .189 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .185 Refresh Effects List Chapter 9 Generate Menu – Edit View Silence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .203 Function Tab Script Tab Tool Tab Help Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .208 Monitor Record Level MIDI Trigger Enable Show Levels on Play and Record . . . . . . . . . . . . . . . . . . . . . . . . . .175 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .201 Chapter 11 Favorites Menu – Edit View Edit Favorites . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .207 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .199 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .208 . . . . . . .195 Show Phase Analysis Statistics General Tab Histogram Tab . . . . . . . . . . . . . . . . . . . . . . . . .170 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .175 . . . . . . . . .192 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .179 Doppler Shifter Pitch Bender Stretch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .204 . . . . . . . . . . . . . . . . . . . . . . . . . . . . .200 . . . .205 Chapter 12 Options Menu – Edit View Loop Mode . . . . . . . . . . . . . . . . . . . . . . . . . . .205 . .189 DTMF Signals Noise Generate Tones . .187 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .197 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .190 Chapter 10 Analyze Menu – Edit View Show Frequency Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .178 . . . . . .207 Timed Record . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .205 . . . . . . . .181 . . . . .viii CONTENTS Noise Reduction Special Distortion Music Convolution . . . . . . . . . . . . . . . . .

. . . . . . . . . .215 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .209 . . . .241 . . . . . . . . . . . .212 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .208 . . . . . . . . . . . . . . . . . . . .229 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .230 . . . . . .232 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .242 . . . . . . . . . .258 . . . . . . . . . . . . . . .236 Device Properties Wave Out Tab Wave In Tab MIDI Out Tab MIDI In Tab Device Order Shortcuts (Keyboard & MIDI Triggers) Chapter 13 Navigating the Multitrack View About Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .240 About Blocks . . . . . . . . . . . . .243 . . . . . .218 . . . . .219 . . . . . . . . . . . . . . . . . . . . . . . . . . .220 . . . . . . . . . . . . . . . . . . . . . . . .248 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .242 About Session Files Navigating the Session Display Inserting Existing Audio Into Your Session Recording New Audio Into Your Session Track Controls Session Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .224 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .228 . . . . .209 . . . . . . . . . . . . . . . . . . . . . . . .222 . . . . . . . . .220 . . . . . . . . . . . .249 . . . . . . . . . . . . . . . . . . . . . . . . . . . .269 Track Context Menu Block Context Menu About Busses . . . . . . . . . . .214 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .232 . . . . . . . . . . . . . . . . . . .241 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .231 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .269 About Real-Time Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .216 . . . . . . . . . . . . . . . . . . . . . . . . . . . . .241 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .229 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .ix Synchronize Cursor Across Windows Windows Recording Mixer Scripts & Batch Processing Batch Process Settings Mouse Wheel System Tab Colors Tab Spectral Tab Controls Tab Display Tab Data Tab SMPTE Tab Multitrack Tab . . . . . . . . . . . . . . . .

. . . . . . . . . . . . . . . . . . . . . .274 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .281 Show Pan Envelopes . . . . . . . .275 . . .277 . . . . . . . . . . .294 Show Track EQ Window Show Track Properties Show Organizer Window Show Cue List Show Transport Buttons . . . . . . . . . . . . . . . . . . . . . . . .276 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .286 . . .283 . . . . . . . . . . . . . .281 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .282 Show Volume Envelopes Show Wet/Dry Mix Envelopes Show FX Parameter Envelopes Show Tempo Envelopes Enable Envelope Editing Session Properties Show Mixers Window Tracks Mixer Tab Bus Mixer Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .273 New Session Open Session Close Session . . . . . . . . . . . . . . . . . . . . . . . . . . . .282 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .289 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .275 . . . . . . . . . . . . . . . .280 Chapter 15 View Menu – Multitrack View Edit Waveform View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .273 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .281 . . . . . . . . . . . . .283 . . . . . . .291 . . . . . . . .275 Save Mixdown To Video As Default Session MRU List Exit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .280 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .274 . . . . . . . . . . . . . . . . . . . . . . . . . . .284 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .293 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .279 . . . . . . . . . . .283 Enable Block Edge Dragging . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .275 . . . . . . . .x CONTENTS Chapter 14 File Menu – Multitrack View About Sessions . . . . . . . . . . . . . . . . . .279 Free Up Space in Temp Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .290 . . . . . . . .275 Append to Session Close Session and Waveforms Open Waveform Save Session Save Session As Save Mixdown As Save All Close Only Non-Session Waveforms . . . . . . . . . . . . . .279 . . . . . . .293 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .279 . . . . . . . . . . . . . . . . . . . . . . . . . .284 . . . . . . . . . . . . . . . . . . . . . . . .

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .310 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .301 . . . . . . . . . . . .304 .305 Mix Down to Empty Track N (Bounce) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .301 . . . . . . . . . . . . . . . . . . .302 . . . . . . . . . . . . . . . . . . . . . . . . . . .296 Advanced Session Properties Chapter 16 Edit Menu – Multitrack View Undo . . . . .294 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .306 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .305 Zoom in/Zoom out (MIDI Block Only) Set Controller 7 (MIDI Block Only) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .306 . . . . . . . . . . . . . . . . . . . . . . . . .295 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .307 . . . . . . . . . . . . . . . . .301 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .294 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .301 Edit Waveform (Wave Block Only) Loop Properties (Wave Block Only) Take History (Wave Block Only) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .295 . . . . . . . .309 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .304 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .305 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .308 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .295 . . . . . . . . .302 . . . . . . . . .294 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .304 .304 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .xi Show Zoom Buttons Show Time Window Show Level Meters Show Load Meter Show Video Window Show a Placekeeper Display Time Format Toolbars Status Bar Show Sel/View Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .295 . . . . . . . . . . . . . . . . . . . . . . . . . . .294 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .310 Loop Duplicate Mute Blocks Lock in Time Convert to Unique Copy . . . . . . . . . . . . . . . . . . . .303 Allow Multiple Takes (Wave Block Only) Adjust Wave Volume (Wave Block Only) Adjust Wave Pan (Wave Block Only) Transpose (MIDI Block Only) Set Tempo (MIDI Block Only) Active Track (MIDI Block Only) Mix Down to File Group Blocks Group Color Block Color Punch In Crossfade Wave Block Properties (Wave Block Only) . . . . . . . . . . .306 .306 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .302 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .295 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .294 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

. . . .312 . . . .311 .322 Chapter 19 Options Menu – Multitrack View Loop Mode . . . . . . . . . . . . . . . . . . . . . . . .325 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .312 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .315 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .310 . . . . . . . . . . . . . . . . . . . . . . . . .313 Remove Blocks Select All Blocks Insert/Delete Time Snapping Refresh Now Destroy Blocks (remove & close) Select All Blocks in Track N Group Waveform Normalize . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .325 Show Levels on Play and Record . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .320 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .315 MIDI from File Video from File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .310 . . .317 Frequency Band Splitter Vocoder . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .312 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .312 . . . . . . . . .312 . . . . . .325 Monitor Record Level(s) . . . . . . . . . . . . . . .315 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .314 Check For Hidden Blocks Chapter 17 Insert Menu – Multitrack View Wave from File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .xii CONTENTS Lock for Play Only Split Merge/Rejoin Split Align Left Align Right Trim Cut Full . . . . . . . . . . . . . . . . .312 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .316 Audio from Video File File/Cue List Currently Open Waveform List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .316 . . .313 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .316 Chapter 18 Effects Menu – Multitrack View Envelope Follower . . . . . . . . . . . . . . . . . . . . .311 . . . . . . . . . . . . . . . . . .313 . . . . . . .314 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .311 . . . . . . . . . . . . . . . . . . .310 . . . . . . . . . . . . . . . . . . . . . . . . . .311 Adjust Boundaries . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .327 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .327 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .326 . . . . . . . . . . . . . .327 Synchronize Blocks with Edit View Pause Background Mixing Windows Recording Mixer Device Properties Device Order . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .325 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .350 . . . . . . . . . . . .328 Shortcuts (Keyboard & MIDI Triggers) Chapter 20 Multichannel Encoder Multichannel Encoder Requirements Elements of the Multichannel Encoder . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .326 . . . . . . . . . . . . . . . . . . . .xiii MIDI Trigger Enable MIDI Panic Button SMPTE Slave Enable SMPTE Master Enable SMPTE Start Offset Sample Accurate Sync Metronome Settings . . . . . . . . . . . . . . . . . . . . . . . . .346 Edit Menu Shortcuts Scroll/Select Shortcuts View Menu Shortcuts Analyze Menu Shortcuts Options Menu Shortcuts Transport Shortcuts Help Menu Shortcuts .353 . . . . . . . . .325 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .367 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .326 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .350 . . . . . . . . . . . . . . . . . . . . . . . . .327 . . . . . . . .328 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .350 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .327 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .351 Keyboard Shortcuts Dialog Appendix B Glossary Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .351 . . . . . . . . . . . . . . . . . . . .348 . . . . . . . . . .329 343 Opening Encoded and Exported files back in Adobe Audition Appendix A Keyboard Shortcuts File Menu Shortcuts . . . .349 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .346 . . . . . . . . .328 . . . . . . . . . . . . . . . . . . . . .326 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .329 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

xiv CONTENTS .

you’re prompted to register online. . So start making some great sounds. . the complete multitrack digital audio recorder. from tips and tutorials to tech support information. . shortcuts Want answers to common troubleshooting questions Search the Adobe Support Knowledgebase and Adobe Audition Top Issues. editor. and XP. buttons. Getting Help Adobe provides a variety of options you can use to learn Adobe Audition. online Help. Are looking for a detailed information about a feature Search for the feature in Help or look it up in the index. You can choose to submit the form directly or fax a printed copy. The combination of Adobe Audition and any Windows sound card puts the power of an entire digital recording studio at your fingertips. see the HowToInstall file on the CD.adobe. and mixer for Windows 98.com/support/products/audition. and thanks for using Adobe Audition. refer to the technical support card provided with the Adobe Audition documentation. and tool tips. you may be entitled to technical support. Registration In order for Adobe to provide you with the highest quality software. You can also register by filling out and returning the registration card included with your software package. Follow the on-screen installation instructions. Terms may vary depending on your country of residence.html. and palette controls as you work in Adobe Audition. • Use the Adobe Audition tool tips feature to help identify tools. offer technical support.1 Introduction elcome to Adobe Audition. 2000. and inform you about new Adobe Audition software developments. . For more information. . Want a complete list of keyboard See the Keyboard Shortcuts chapter. which you can access from Adobe’s Web site at www. Try this . please register your application. including printed guides. You can also access a host of continually updated Web resources for learning Adobe Audition. Customer support When you register your product. Want information about installing Adobe Audition Are new to digital audio editors • See the “Looking at the Work Area” chapter to get familiar with the work area and tools. For more detailed information. When you first start the Adobe Audition application. W If you . ME.

• See the Adobe Audition support page for information on top support issues and trouble- shooting information for common problems. .Adobe also provides several forms of automated technical support: • See the ReadMe file installed with the program for information that became available after this guide went to press.

and Flange. Edits can be accurate down to the sample level and can be automatically snapped to zero crossings. broadcast facilities. DVD. and post-production facilities. Doppler Shifter. edit individual audio files. Whether you’re producing music. or DVD-Audio. the precise tools in Adobe Audition give you the power to create rich. Adobe Audition includes standard effects such as Reverb. mastering and analysis tools. and Time/Pitch stretch. nuanced audio of the highest possible quality. Support for 24-bit/96kHz recording ensures DVD-ready sound. and mix high-resolution 32-bit files using any sample rate up to 10 MHz. Check for in-phase material and mono compatibility in the Phase Analysis window. edit. or audio for video. Mix up to 128 tracks. analysis tools. Designed for audio and video professionals in studios. radio broadcasts.2kHz. and 192kHz. looping support. Work efficiently Adobe Audition puts all the tools you need at your fingertips so that you can get your work done quickly and efficiently. Delay. including standard rates such as 44. A complete solution for digital audio. and use the Frequency Analysis window to take snapshots of frequency (FFT) data and export that information to the clipboard. Dynamics Processing. . restoration features. pop-free cuts every time and quick fades can be added using keyboard shortcuts. Sound Your Best Adobe Audition enhances your sound with the following advanced audio features: Highest-quality audio Record. Use integrated tools Adobe Audition provides an all-in-one audio editing and mixing solution. 96kHz.3 Adobe Audition at a Glance A dobe Audition software is a professional audio editing and mixing environment. short crossfades can be added for smooth. Scientific Filters. create loops. Adobe Audition also supports third-party DirectX plug-ins. and audio restoration features. Integrated multitrack and edit views. and dockable pallets enable you to arrange your workspace to match a project’s needs. real-time effects. Hard Limiting. and use more than 45 DSP (digital signal processing) effects. 88. and video support provide the power you need in a fully integrated audio toolset. Noise Reduction (including click and pop elimination). All processing is done at 32-bit resolution for the highest quality sound. CD. Adobe Audition is up to the task. An accessible interface helps you to get up and running in no time. editing.1kHz. Sample-accurate editing Be as precise in your cuts as you like. Adobe Audition delivers advanced audio mixing. Powerful DSP tools and effects Work with more than 45 DSP tools and effects. Adobe Audition lets you: Sound your best Adobe Audition supports files with bit depths of up to 32-bit and sample rates in excess of 192 kHz. mastering. so whether your destination is tape. as well as advanced processing such as Parametric Equalizer. Adobe Audition is a complete multitrack recording studio that offers a flexible workflow coupled with exceptional ease of use. and effects-processing capabilities.

Real-time effects Process effects in real-time instead of waiting for each effect to render before moving on. MIDI. so Audition can automatically open the session that created the WAV file you are using in the other software.1kHz and upsampling it to 48kHz for video or 96kHz for DVD. scripts. For example. Favorites Use Favorites to build a customized collection of commands. lock a track to cache the rendered effect. effects parameter. statistics.4 Adobe Audition at a Glance Precise sample rate conversion Convert audio sample rates with confidence: transparent sample-rate conversion guarantees that if you need to change the sample rate of audio. phase analysis. Surround sound support Use the multichannel encoder to create a surround mix from any session in the multitrack view. and spectral view) in real-time while editing to save time and see your audio characteristics from edit to edit. . where you can quickly access currently open audio. and can be configured to meet your production needs. Work Efficiently Adobe Audition increases your productivity with extensive customization and performance options: Customizable workspace Get up and running quickly using an interface that is dockable. and can be assigned keyboard shortcuts for quick access. and wet/dry transitions for clips in a multitrack mix using sample-accurate automation envelopes or “rubber bands. and external software tools. High-quality stretching Change tempo without shifting pitch or shift pitch without changing tempo thanks to high- quality stretch support. Also. Integration with Adobe Premiere® Pro and Adobe After Effects® Send your audio from Adobe Premiere Pro or After Effects into Audition with the Edit Original command.” Envelope curves can be adjusted using splines to produce gradual. then export the mix as a 6-channel wave. Favorites appear in the Organizer window and the Favorites menu. unlock it instantly to make adjustments. create default sessions that can be called up as templates for projects that share similar configurations. available effects. and video files. it will sound its best. Customizable dithering Convert high-bit-rate material to lower resolution formats without introducing audible artifacts. pan. Batch file processing Use the dedicated batch-processing wizard to easily convert large numbers of files among different sample rates. bit depths. Ideal for taking CD material at 44. or a multichannel WMA 9 file. Organizer window Keep your project resources at your fingertips using the Organizer window. and file formats. automate repetitive tasks with scripts. resizable. non-linear transitions. Automation envelopes Create smooth volume. and favorites. Precise analysis tools Work with built-in analysis tools (frequency analysis. User-definable dither depth and a wide array of Noise Shaping curves assure that your audio will retain its character and definition. To reduce CPU usage. six mono waves. WAV files are stamped with session data. effects.

use real-time effects and EQ on every track. Dub Reggae. . songs. Styles include Classical and Orchestral. Blues. MP3. Bossa Nova. and effects automation envelopes. Loops automatically match global session tempo and key to produce dynamic musical performances. Ambient. AIFF. and more. and World Music. performance-based loops in a wide range of musical genres that you can combine to create your own music beds. Broad file-format support Work with files that arrive from a wide array of sources and deliver files in the audio format you need: Audition supports more than twenty file formats and variations. mixing. Loop-based soundtrack creation Use flexible looping tools to quickly construct high-quality music for songs or movie soundtracks. Ska. a mono and stereo waveform editing view.ADOBE AUDITION 5 User Guide Use Integrated Tools Adobe Audition integrates many powerful digital audio tools: Complete toolkit for digital audio Handle all of your digital audio editing tasks within a single application: Audition includes an integrated multitrack mixing view. Lounge. mp3PRO. Apply volume. and more. This means you can do anything from creating a totally new soundtrack. soundtracks. Thousands of royalty-free production music loops Adobe Audition includes thousands of original. and looping capabilities. Alternative Rock. Rockabilly. effects support. and editing sessions with up to 128 stereo tracks. including Windows PCM (wav). to sweetening the recording you already have. play back AVI and MIDI files. Audio for video Open AVI files in the multitrack view and use all of the audio tools available in Adobe Audition on the soundtrack. Techno. to reducing noise on the current soundtrack. and WMA 9. 70s Funk. pan. Cocktail Jazz. Powerful multitrack editing Use the multitrack view for recording.

6 Adobe Audition at a Glance .

in Adobe Audition. whereas in non-destructive editing. pasting. those edits are applied to the waveform itself. Adobe Audition employs both destructive and non-destructive editing methods. and applying effects (such as Reverb or Limiting) are destructive in nature. • Destructive editing simply means that edits (cutting. etc.) are applied directly to the waveform. When you put together a song or audio presentation in Adobe Audition. Destructive and Non-Destructive Editing Being a software-based audio system. There are two kinds of computer-based audio editing: destructive and non-destructive. The original file remains unaltered until you choose to save any changes you’ve made (by choosing Save from the File menu. so that the original audio data changes. . and it uses that copy for editing. • Non-destructive editing implies that the file on disk is not actually altered. split. When you open a waveform in Adobe Audition. One key point is the way in which an audio program operates on a waveform. The following information should help you to understand Adobe Audition’s working model in a few key areas. Adobe Audition overwrites the original file with what you’ve done to the copy. Adobe Audition uses “delayed destructive editing”. much as text files are your building blocks when you use a word processor to compose a book. • Edits made in the Multitrack View. each “edit” is stored as an instruction to be applied to the file. However. • Edits performed in Adobe Audition’s Edit View like cutting. in destructive editing. Adobe Audition deals with audio in a digital form. pasting. it places a copy of the file in a temporary folder. you should be familiar with some of its general operating concepts. In essence. for example). The use of real-time effects in Multitrack View is non-destructive as well. even “destructive” edits aren’t applied directly to the waveform in use until you save the file. This sampled waveform then exists as a waveform on your computer’s hard drive. or sampled. such as a cut. the volume change would consist of commands that essentially instruct the program to “get louder at this point”. When you save your changes. For example. a change in audio volume would actually alter the amplitude of a waveform. meaning that an analog waveform (such as your voice saying “hello”) is converted. or volume change. instead. destructive edits in Adobe Audition don’t directly affect your original waveform when you perform them. into a binary representation.7 Chapter 1: Key Concepts of Adobe Audition T o get the most out of Adobe Audition. so when you save your file again. waveforms are your building blocks. adding reverb. are non-destructive. Therefore.

and can be freely undone. Adobe Audition retains a copy of the file as it exists before the edit. a volume change. (Remember: the effect is actually applied to a copy of the waveform. such as a moved or deleted sound file. The Mix Gauge at the bottom of the Track Controls in the Multitrack View shows how far along Adobe Audition is in the process of mixing your session. The meter goes from “empty” to “full” as it mixes the session. (Copies are automatically deleted from your hard drive when you close a file or exit the program.) The preview feature updates in real time. Adobe Audition must immediately work that change into the mixed output. Multitrack Adobe Audition’s multitrack environment enables you to place multiple waveforms. However. No matter which type of audio you use. you need not wait for the meter to reach completion entirely before beginning playback. however. This means that you can monitor the processed signal before applying the effect to the waveform. Multiple Undo gives you tremendous freedom in working on waveforms without having to worry about destructiveness in the least. Adobe Audition continuously mixes. enabling you to travel back through your edits to previous states of the waveform. each sound instance in Adobe Audition’s Multitrack View is referred to as a “block. Real-Time Preview In the Edit View. MIDI files. In multitrack the preview is not necessary. meaning that changes you make to effect parameters while in the dialog for that effect become audible immediately. while the audio is playing. Adobe Audition offers real-time preview for many of its effects. Basically. As stated above. it also requires additional hard drive space to store these copies. every effect in the Multitrack View is in preview all the time. Background mixing occurs behind the scenes and is generally very fast. as effects are used non-destructively.8 CHAPTER 1 Key Concepts of Adobe Audition This same model of delayed destructive editing also enables Adobe Audition to offer multiple levels of Undo. When you apply destructive edits to a waveform. and will continue to do so while playing. You can think of this meter as a “ready” indicator. and it turns a bright color when the entire session is fully mixed.” The mixing process involves combining the audio of all of the placed blocks into two or more channels for output. .) You can disable the Undo feature if your disk space runs too low. It does this for each edit you perform. and subtract blocks in the multitrack environment. so you can safely begin playback when the Mix Gauge meter is about halfway up. or new material recorded into a track. However. that your system’s performance affects the preview feature. add. and video soundtracks into different tracks for simultaneous playback and mixdown. some effects may tend to break up or skip during preview. and it does so through background mixing. Because you can edit. Keep in mind. When something is altered. Adobe Audition must constantly watch for changes to the multitrack session. On slower systems. The faster your system – especially your CPU and hard drive(s) – the faster Adobe Audition can mix in the background.

ADOBE AUDITION 9 User Guide

In general, if the background mix is not sufficiently complete, you’ll hear a break-up or skipping when playing back the mix. If that happens, just wait a few seconds – Adobe Audition will usually catch up very quickly, and you can begin playing again. Your audio might also start to break up if you are using real-time effects in multitrack view and your system cannot keep up with the processing. If this happens, try using the Lock feature on some of your effected tracks to mix the effects into the background mix and take some load off of your CPU. Playback can be directed to a pair of outputs (as in a single stereo sound card) or to multiple outputs (as in multiple stereo sound cards, or a single card with multiple outputs). Adobe Audition produces a mix for each set of outputs used. If you’re using one stereo sound card, Adobe Audition generates just one mix, but if you have multiple outputs, it must create a separate mix for each output device (typically a stereo pair). The additional mixing required for multiple outputs demands more processing power and therefore tends to slow down the mixing process.

Session Files
In addition to waveforms, MIDI files, and video soundtracks, Adobe Audition also makes use of a type of file called a session file. Session files (.ses) are very small in size and simply contain the details of your Adobe Audition multitrack session, as in what audio and video files are used and where, the volume and pan levels, the names of the tracks, what real-time effects are used, etc. With this in mind, you cannot simply copy a session file to a floppy disk and have a friend open it up and play it. For example, if you create a session with a file called C:\Music\hihat.wav, and later use another program (like Explorer) to move hihat.wav to a new folder called C:\Music\Drums, Adobe Audition won’t know that you moved the file the next time you load the session. Try to keep this in mind as you manage your audio elements and session files so that you don’t end up losing tracks or objects inside your sessions. If you want to move an entire session file and all of its embedded audio elements to a new directory, choose File > Save Session As, and select Save Copies of All Associated Files.

Working with Premiere Pro and After Effects
You can easily move projects between Adobe Audition and Adobe’s video applications by using the Edit Original command in Premiere Pro and After Effects. To enhance the functionality of this command, you can configure Adobe Audition to link mixdown files with related session files so you can quickly edit and remix soundtracks. To link mixdown and session files, choose Options > Settings, click the Data tab, and select Embed Project Link Data for Edit Original Functionality.

10 CHAPTER 1
Key Concepts of Adobe Audition

11

Chapter 2: Looking at the Work Area

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ou might think of Adobe Audition as two major audio programs in one. It’s a powerful single-waveform editor that can be used to play, record, modify, and process mono and stereo waveforms. And Adobe Audition can also digitally record and mix numerous audio files (using up to 128 tracks) to either a single sound card or multiple sound cards, while providing for real-time effects and level/pan mix adjustments in a non-destructive editing environment. This chapter is meant to be a brief introduction to the various navigation and functional controls of this deceptively simple – yet powerful – program. Here we’ll concentrate on the major interface elements that are common between Adobe Audition’s two major work areas: Edit View and Multitrack View. Parts of the program that are more specific to either area will be covered in subsequent chapters. Adobe Audition makes liberal use of your mouse’s right button. Whenever you see a simple function button, control, window, or waveform action, try right-clicking it. Chances are you’ll be surprised by a useful shortcut menu or a set of handy options that can make Adobe Audition’s operation even easier.

Edit View and Multitrack View
Adobe Audition offers two major workspaces: Edit View and Multitrack View. While in Edit View, Adobe Audition can be thought of as being a single-waveform editor that can be used to record, edit, and process mono and stereo waveforms. Audio files can be saved to disk (including CDs), or played back through any sound card that has been installed within your computer.

12 CHAPTER 2
Looking at the Work Area

Edit View with Organizer Window Active

On the other hand, Multitrack View is where Adobe Audition allows you to record, play, and mix multiple tracks of audio in a virtual 128-track recording studio. Real-time effects can be applied, relative track volume and stereo placement may be adjusted, and audio can be played back through single or multiple sound cards.

ADOBE AUDITION 13 User Guide

Multitrack View with Organizer Window Active

Switching from Edit View to Multitrack View
There are several ways to switch from Edit View to Multitrack View. Here are the most popular:
• Select Multitrack View from Adobe Audition’s View menu. • Click on the left-most icon on the Adobe Audition File toolbar. • Press F12.

Switching from Multitrack View to Edit View
Several methods are provided to switch from Multitrack View to Edit View. These include:
• Double-click on a waveform’s entry in the File tab of the Organizer Window. • Double-click on a wave block. • Select Edit Waveform… from a wave block’s right-click menu. • Select Edit Waveform View from Adobe Audition’s View menu. • Click on the left-most icon on the Adobe Audition File toolbar. • Press F12.

14 CHAPTER 2
Looking at the Work Area

Dockable Windows
If Adobe Audition’s default interface layout doesn’t quite meet the current needs of your project or screen resolution, you’ll be happy to know that many individual parts of the interface are dockable. This means that interface components like the Transport Buttons, the Time Display window, the Level Meters, and Rulers may be detached from their current location to float above Adobe Audition’s main window, or they may be repositioned and resized within the main window so they better suit your requirements. How can you tell if a part of the Adobe Audition interface is indeed a dockable window? Look for two thin vertical or horizontal lines – these lines are the “handle” (or grab bar) of a dockable window. Move your mouse over a handle, and your mouse cursor looks like a plus sign with arrows at each end. For quick reference, here’s a list of all Adobe Audition dockable windows:
• Organizer Window • Cue List • Play List * • Transport Buttons • Zoom Buttons • Time Window • Sel/View Controls • Level Meters • Placekeeper • Session Properties ** • Mixers Window ** • Track EQ Window ** • Track Properties ** • Load Meter ** • Video Window **

* (Available in Edit View only) ** (Available in Multitrack View only) Some docked windows may be resized. If resizing is possible, the docked window will have a single, thicker horizontal or vertical bar, known as a resize control. If your mouse moves over a resize control, your mouse cursor takes on the appearance of two lines with two arrows. Note: Even if the resize control is visible, resizing might not be possible due to the other windows that are in the row with the window you’re trying to resize.

ADOBE AUDITION 15 User Guide

To select a docked window, left-click when you’re over a handle. (Notice how the window becomes outlined when selected.) To move a docked window, select it and drag its hollow shape while holding down the left mouse button. As you move it around the Adobe Audition interface, two things will happen. If the outline of a dockable window retains its original dimension, releasing the left-mouse button will cause the window to “materialize” as its own standard floating window. However, if you notice the resize bar of another docked window “light up”, this designates a docking location. If this is where you’d like the dragged window to appear, release the left-mouse button and the window will snap into its new location. To close a docked window, right-click on its handle to see a pop-up menu with a Close option. Check this option and the window will disappear. Don’t worry if you change your mind, since you can bring back any closed dockable window by checking its name on Adobe Audition’s View menu. A docked window’s right-click menu also contains an option called Force New Row. If this item is checked, a new, empty row to dock windows is created. To move a floating window, left-click on its title bar and, while holding down the left mouse button, drag the window to the desired location. Close a floating window by left-clicking on the “X” control in its title bar. To dock a floating window, left-click and drag it while holding down the left mouse button. As you move it around the Adobe Audition interface, potential docking locations will appear; you’ll see the resize bar of dockable windows “light up” wherever docking is possible. If this is where you’d like the floating window to dock, release the left-mouse button and the window will snap into its new home. Press the Ctrl key while moving a floating window around to force it to not dock. That way you can float it over an area that it would normally try to dock to.

Placekeepers
Select Show a Placekeeper from Adobe Audition’s View menu to create a blank, dockable window called a “placekeeper”. Use it to more accurately define where you want a dockable window to be, especially for windows that are only useful when viewed in a certain aspect ratio. For instance, if you try docking the Track EQ controls above the Transport Buttons, they end up going underneath the whole session display, which creates a view that isn’t very useful (or aesthetically pleasing). You can use a placekeeper, though, on either side of the Track EQ window in order to force the EQ into a certain aspect ratio. Placekeepers can also be used just for appearance’s sake, just because you like the way they let you customize Adobe Audition’s look. Placekeepers may be inserted at any point in the Adobe Audition interface where docking is possible, and they automatically resize to fit their docked area. You can right-click within a placeholder window to select Squares to fill the placekeeper’s appearance. Check the Make Default item to make future placekeepers automatically adopt the current appearance.

To delete a docked placekeeper. Toolbars Many of Adobe Audition’s most commonly used functions are represented as icons within toolbars. Note: To see what a toolbar button does. right-click on its grab bar and select Close from the pop-up menu. editing. viewing options. . and help. Complete details about the commands found in both the Edit View and Multitrack View’s drop-down menus can be found later in this manual. These icons give you instant access to effects. which appear near the top of the main interface. file handling functions. each created with a click of the Show a Placekeeper command. Drop-down Menus The Multitrack View’s Options drop-down Menu Adobe Audition’s drop-down menus offer quick and easy access to all session and audio file handling. as well as options. viewing properties. The Edit View’s Edit Toolbar You can decide which sets of toolbar icons to display by going to View > Toolbars (or right-click on the toolbar area) and checking or unchecking the desired toolbar group(s). or three rows. two rows. and more. Another option is to limit how many rows of toolbar icons Adobe Audition displays at any one time: one row. and signal processing functions. at the press of a button.16 CHAPTER 2 Looking at the Work Area You can have up to four placekeeper windows. hold your mouse pointer over it to display a small “tool tip” that describes the function in simple terms.

each into their own track. or press the Alt+9 keyboard shortcut. in Adobe Audition’s Multitrack View. click on the “X” control in its title bar. right-click on its grab bar and select Close from the pop-up menu. tabbed window that allows you to easily open and close files. Or. The Organizer Window initially appears to the left of the Wave Display in Edit View or to the left of the Session Display in Multitrack View. However. check Show Organizer Window from Adobe Audition’s View menu. Dragging and dropping a Wave or MIDI file into a track in the Multitrack View drops it in that track. Or. Close File Pressing this button closes all of the files that are highlighted in the Files pane. you can simply uncheck the Show Organizer Window item on the View menu to close it in either docking or floating mode. Double-clicking on a waveform in the Organizer opens it for editing in the Edit View. or press the Alt+9 hotkey. Insert Into Multitrack Push this button to insert all highlighted files. it’s dockable so you can reposition it at one of several places in the Adobe Audition interface.ADOBE AUDITION 17 User Guide Organizer Window Adobe Audition’s Organizer Window is a handy. choose effects with ease. . To close the Organizer Window when it’s floating. Files Pane The Files Pane of the Organizer Window with Advanced Options displayed The Files Pane of the Organizer Window displays a list of open waveforms and MIDI files. The Organizer Window is hidden by default. To display it. see a list of all open waveforms and MIDI files. you may detach it and have it float above Adobe Audition’s main window. Here are its components: Open File Click on the Open File button to access Adobe Audition’s Open a Waveform dialog. To get rid of the Organizer Window when it’s docked. and more.

Display In Edit View Push this button to show a highlighted file in Adobe Audition’s Edit View.18 CHAPTER 2 Looking at the Work Area Note: If you highlight a file and press the Insert Into Multitrack button multiple times. Note: Hold down the Shift key to select multiple contiguous files in the Files pane. Double-clicking on an Effect in the Organizer brings up the dialog to run that effect on the open waveform in the Edit View. Click on the appropriate box to toggle its view status. The Effects Pane of the Organizer Window with Group By Category active . folder(s). clicking a file’s name causes the file to begin playing. Filename. Auto-Play When this button is pushed down. Show File Types You’re given the option to show or hide the display of Wave and/or MIDI files in the Files pane. Note: Should multiple files be highlighted. Advanced Options Depressing this button causes additional options to appear near the bottom of the Files pane. Push it again to show just the filenames. 3. only the last file you clicked on will appear in Edit View. highlighting a file and pressing the Insert Into Multitrack button five times places the same file into tracks 1. For instance. if no other waveforms are in the Multitrack View. filename] of the entries in the File pane. and 5. each time into a separate track. Sort By This control lets you decide how you want to sort the entries in the Files pane: Recent Access. Full Paths Push this button to display the full path [drive. Effects Pane The Effects Pane lists all of the effects at your disposal. holding down the Ctrl key allows you to highlight multiple non-contiguous entries. that file is inserted the same number of times. or Recent Filename. Recent Type. 4. Dragging and dropping an Effect onto a track in the Multitrack View adds that effect to the track. The listing includes all of Adobe Audition’s effects as well as all installed DirectX audio plug-ins. 2.

With the Group By Category button in the up position. respectively. Favorites Pane The Favorites Pane lists all of the favorites you’ve created. the list is shown as an Explorer-like hierarchical tree-type display.) The Favorites Pane of the Organizer Window Edit Favorites Press this button to call up the Favorites dialog. the Off-Line Effects are grouped together. the list is shown as an Explorer-like hierarchical tree-type display. and the Multitrack Effects are grouped together. where you can create new favorites. More details about the Wave Display and Session Display windows can be found in the “Navigating the Edit View” and “Navigating the Multitrack View” chapters. whether you’re modifying one waveform in Edit View or mixing dozens of discrete audio elements in Multitrack View. Categories and their entries are shown in the same order as they appear on Adobe Audition’s Effects menu. all effects are displayed in roughly the same order they appear on the Effects and Generate menus. where all of the Real Time Effects are grouped together. These are the areas where you’ll see sound visualized in an easy-to-manipulate form. Another push of the Group Real-Time Effects button returns the File Pane to its previous view. Wave Display/Session Display The Wave Display window (in Edit View) and the Session Display window (in Multitrack View) are the heart and soul of Adobe Audition. .ADOBE AUDITION 19 User Guide Group By Category With this control pushed down. (These are the same items that appear on Adobe Audition’s Favorites menu. Group Real-Time Effects When this control is pushed down. or edit or delete existing Favorites.

20 CHAPTER 2 Looking at the Work Area The Edit View’s Wave Display The Multitrack View’s Session Display Presets Many of Adobe Audition’s effects and other functions have presets that are available for easily storing and recalling your favorite settings. New presets can be added at any time. .

Normally you wouldn’t want to do this as this can be confusing if the presets are different. right click on the point to bring up the edit box. . then press Del immediately followed by Add. • To enter the values for a control point numerically. prompting you to name your new preset. double-click on the preset name. By adding and moving control points on the graph. Whenever you have settings you would like to keep. you may enter a name for your settings. make your modifications. To remove a preset from the list. and press the Add button. which is automatically sorted alphabetically. and press Del. Note: Adobe Audition allows you to add two or more presets with the same name. Graph Controls Many of Adobe Audition’s effects use graph controls for adjusting parameters.ADOBE AUDITION 21 User Guide The Presets portion of the Amplify Effect’s Dialog Double-clicking on any preset will instantly set all controls in the dialog box to that preset. or double-click on the graph’s curve. A dialog pops up. you can tailor the effect to precisely meet your needs. choose the preset. To modify an existing preset. Your new preset is added to the list of other presets. This will delete the old preset and add your current settings in under the same name. click in the grid at the location where you want to place the point. The Graph Control portion of the Dynamics Processing Dialog To work with an Adobe Audition graph control: • To add a control point to the graph.

To get rid of the Transport Buttons window when it’s docked. stopping. Adobe Audition provides VCR-like transport buttons for playing. you can even detach the Transport Buttons window and have it float above Adobe Audition’s main window. You may also enable pause in Multitrack View by first holding down the Ctrl key and then pressing the spacebar to start playback. Note: When the mouse cursor is located over a control point. Hitting the spacebar again will pause the playback of the multitrack session. you’ll see it change from an arrow to a hand. <<CAPTION TO BE WRITTEN>> To close the Transport Buttons window when it’s floating. . Right-click on the Play button to select from four behavior options: • Play View: Adobe Audition will play just the portion of audio you’re currently viewing from beginning to end. (This is the default behavior for this button. Or. simply uncheck the Show Transport Buttons item from the Edit menu to close it in either docking or floating mode. click on the “X” control in its title bar. recording. • Play from Cursor to End of View: Adobe Audition plays from the current cursor position to the end of the view. regardless of the cursor position or view. • To remove a point from the graph. right-click on its grab bar and select Close from the pop-up menu. Play to End Clicking on this button plays the contents of the currently-visible waveform or session window. • Play Entire File: When this option is checkmarked. allowing you to reposition them at several places in the Adobe Audition interface. Here’s what each transport button does: Stop Click on this button to stop the playback of a waveform or session. fast forwarding. Or. Transport Buttons Just like many hardware-based audio recording and playback devices.22 CHAPTER 2 Looking at the Work Area • To move a point on the graph. Play This button plays the portion of the wave or session that is currently being viewed (or that’s highlighted) from the current cursor position. and then stops playback. The control turns into a Continue button when audio is paused. Adobe Audition will play the entire file or session from beginning to end. pausing. The Transport Buttons are in a dockable window. and rewinding your waveforms and sessions. click and hold on the point and drag it off the graph. Right-click on the Play to End control to select from four behavior options: • Play View: Adobe Audition will play just the portion of audio you’re currently viewing from beginning to end.) • Play from Cursor to End of File: Audio is played from the current cursor position until the end point of the file or session. click and hold on the point and drag to a new location. Pause Press this button to temporarily pause the playback or recording of audio.

Go to End Click this button to place the playback cursor at the end of the waveform or session. Right-clicking on the Rewind button allows you to set the rate at which the cursor will move. Level Meters The Level Meters (which by default are near the bottom of both Adobe Audition’s Edit View and Multitrack View windows) display both record and playback levels. which vary depending on whether you’re in Edit View or Multitrack View: In Edit View.ADOBE AUDITION 23 User Guide • Play from Cursor to End of View: Adobe Audition plays from the current cursor position to the end of the view. it will loop just the area of the waveform or session that’s currently viewed or highlighted. If areas are marked for Punch In (i. you can switch between Instant Record (the default) and Timed Record modes. This function supports scrubbing. you have three options: Continuous Linear Record (the default). This means that on some sound cards. you can even detach the Level Meters window and have it float above Adobe Audition’s main window. a new take is created on each looping. and Loop While Recording (Entire). the last two options allow for looping while recording.e. . allowing you to reposition it at one of several places in the Adobe Audition interface. Rewind Click on this button to shuttle the playbar cursor backwards in time. Checkmark Loop Entire (or Selection) to have Adobe Audition loop the entire waveform or session (or just the highlighted portion). regardless of the cursor position or view. Since the Play Looped button itself only applies to playback. This function supports scrubbing. the Allow Multiple Takes option is checked on a Wave Block’s right-click menu). looping fashion. Loop While Recording (View).) In Multitrack View. Right-clicking on the Fast Forward button allows you to set the rate at which the cursor will move. Any waveform data after this point will be recorded over. the audio file will be played back at a lower volume as it shuttles over the waveform or session.. regardless of how much is being viewed. (Timed Record lets you use Adobe Audition as an automated. Loop View (or Selection) is the default option. Play Looped This button plays the contents of the currently-visible waveform or session window in a continuous. Record This button starts recording from the current playbar cursor position. • Play from Cursor to End of File: Audio is played from the current cursor position until the end point of the file or session. (This is the default behavior for this button. The Level Meters are in a dockable window. Right-click on the Record button to select from different behavior options. time-shifting recording device. Fast Forward Pressing this button shuttles the playbar cursor forward in time. Or. Go to Beginning Press this button to place the playback cursor at the beginning of the waveform or session. the audio file will be played back at a lower volume as it shuttles over the waveform or session. This means that on some sound cards. Right-click on this button to change its behavior. Adobe Audition will play the entire file or session from beginning to end.) • Play Entire File: When this option is checkmarked.

you can simply uncheck the Show Level Meters item on the View menu to close it in either docking or floating mode. If they’re spread far apart. When displaying stereo audio. If the valley indicators are close to the peak indicators. Choose this option to reset the red lights. Clear Clip Indicators If clipping occurs (i. This can dramatically throw the level meters off since the amount the waveform is displaced could be interpreted as a constant sound that loud. but if Adjust for DC is enabled. To stop monitoring. the dynamic range – the difference between the quietest and loudest sounds – is low. then the Level Meter’s red lights come on and stay on until cleared. Yellow peak indicators will “stick” for 1. the top meter represents the left channel. make sure this menu item is checked. To get rid of the Level Meters window when it’s docked. If clipping does occur. This gives a good indication of the dynamic range of the audio. This is useful for setting input levels before recording. the indicators may light up when the audio has a DC offset. The recording meters will dynamically adjust to the DC offset. You can also start and stop monitoring by double-clicking on the Level Meters. which means that the center of the waveform being recorded is not at the exact center of the waveform display. click on the “X” control in its title bar. To compensate. and display the true amplitude of the signal in decibels. and remain lit. Show Valleys Just as the yellow indicators show peak levels. but a little above or below it. the clip indicator to the right of the meter will light up. Adjust for DC Many sound cards record audio with a slight DC offset. where a level of 0dB is the absolute maximum before clipping occurs. Right-click on the Level Meters window to call up a menu with metering options: Monitor Record Level This option activates the Level Meters and starts monitoring the recording source. . Clicking on the clipping indicator at any time resets it. incoming audio is greater than 0dB). valley levels (minimum amplitudes) will be marked as well. You may also click on the Clip Indicators (at the right edge of the Level Meters) to clear them. Show on Play and Record Selecting this option causes the Level Meters to operate during the playback or recording of audio. if Show Valleys is chosen. the right. and the bottom. 120dB Range With this option checked.24 CHAPTER 2 Looking at the Work Area Level Meters The incoming signal from your selected sound card(s) is represented as the peak amplitude in decibels. the range of the Level Meters is 120 decibels. Or. press the Stop control or tap your spacebar.. To close the Level Meters window when it’s floating. Note: The clip indicators will always light if clipping occurs. the dynamic range is high.e. right-click on its grab bar and select Close from the pop-up menu.5 seconds before resetting to allow for reading of the peak amplitude.

Dynamic Peaks Choosing Dynamic Peaks causes the yellow peak level indicators to reset to a new peak level after 1.ADOBE AUDITION 25 User Guide 90dB Range Select this option to have the Level Meters display a range of 90 decibels. the peak levels never reset. Zoom Buttons Adobe Audition’s Zoom Buttons allow you to zoom in or out of the Wave Display or Session Display. 75dB Range Click on this entry to display a range of 75 decibels in the Level Meters. The following items are included within Adobe Audition’s Zoom Buttons: Zoom in to Center Click this button to zoom in on the center of the visible waveform window or session. To get rid of the Zoom Buttons window when it’s docked. you can even detach the Zoom Buttons window and have it float above Adobe Audition’s main window. Or. This lets you easily see the peak amplitude “right now”. or recording began. playing. Just start the meters and start playing the song. click on the “X” control in its title bar. Zoom Out Full Click this button to zoom out to display the entire waveform or blocks that are contained within a session. When the song is over. the peak indicators start backing off. 30dB Range Checking this item gives the Level Meters a range of 30 decibels. The peak can still be reset manually at any time by clearing the clip indicators (clicking on the clip indicator at the right). Or. This lets you retain the maximum amplitude of the signal since monitoring. Zoom to Selection Click this button to zoom in on the actively selected waveform or session range. As the audio gets quieter. the Level Meters have a range of 45 decibels. right-click on its grab bar and select Hide from the pop-up menu. 60dB Range This option causes the Level Meters to have a range of 60 decibels. Static Peaks With this option selected. Having Static Peaks selected is great for finding out how loud a song will get before recording it. Zoom Out Click this button to zoom out from the center of the visible waveform window or session. the peak indicators will show the volume of the loudest part of the song.5 seconds. 45dB Range When you choose this option. Zoom Buttons The Zoom Buttons window is a dockable window. allowing you to reposition it at one of several places in the Adobe Audition interface. . or zoom out to get a complete visual overview of the entire waveform or session. You can zoom in down to the point where the sample of each waveform can be clearly seen. To close the Zoom Buttons window when it’s floating. you can simply uncheck the Show Zoom Buttons item on the Edit menu to close it in either docking or floating mode.

in Multitrack View. but this can easily be changed by right-clicking on the Time Window and choosing another option. To get rid of the Time Window when it’s docked. Samples. right-click on its grab bar and select Close from the pop-up menu. Sel/View Controls The Sel/View Controls window (Sel is an abbreviation for Selection) shows the beginning and ending points. clicking this button shows more tracks. such as Compact Disc. Vertical Zoom Out In Edit View. in Multitrack View. Time Window The Time Window is dockable. so you can reposition it at one of several places in the Adobe Audition interface. A subsequent rightclick calls up a copy/paste and options selection box. The default display value is mm:ss:ddd (minutes:seconds:thousandths of a second). To close the Time Window when it’s floating. Both the selection and display range is shown using the current time display format (which is selected in View > Display Time Format). as well as the total length of both the selection and the section of the waveform or session that’s currently viewed. or one of several SMPTE values. Vertical Zoom In In Edit View. Sel/View Controls . Or. Left-click on any one of the individual value windows to directly enter numeric time display data. just uncheck the Show Time Window item on the View menu to close it in either docking or floating mode. clicking this button decreases the number of viewed tracks in the Session Display. Zoom to Right Selection Click this button to zoom in on the right-hand boundary of the actively selected waveform range or session. clicking this button increases the vertical scale resolution of a waveform’s amplitude display.26 CHAPTER 2 Looking at the Work Area Zoom to Left Selection Click this button to zoom in on the left-hand boundary of the actively selected waveform range or session. You may also detach the Time Window and have it float above Adobe Audition’s main window. clicking this button decreases the vertical scale resolution of a waveform’s amplitude display. click on the “X” control in its title bar. Bars and Beats. Time Window Adobe Audition’s Time Window displays the current position of the playback cursor.

this means that your cursor is over the right channel at 0. This data is computed at the precise point where your mouse cursor is placed within the wave display. Example: If you see “R: -15.2dB @ 0:00:242” in the status bar when in Edit View. Or. uncheck the items you don’t want to see. Check the items you wish to display. you’ll see even more beneficial data such as Pan and Volume envelope positions. dynamic effect settings. and the current position of the wave block as you drag it around. File size (time) This figure tells you the length (measured in time) of the current waveform. To close the Sel/View Controls window when it’s floating. To get rid of the Sel/View Controls window when it’s docked.100 kHz 16-bit stereo file shows up as “44100 – 16-bit – stereo”. Free Space (K) This option lets you see how much space is available on your hard drive. File Size (K) This value represents how large the active audio file is. A typical display might be “7028. right-click on its grab bar and select Close from the pop-up menu. If you see “308 K” in the status bar. a 44. “0:01:247” means the sound file is 1. you can simply uncheck the Show Sel/View Controls item on the View menu to close it in either docking or floating mode. and the amplitude at that precise point is –15. . Status Bar Right-click on the Status Bar to show a menu of display options (which are described below). For instance.32 MB free”. and the time (hours:minutes:seconds:hundredths of seconds) from the beginning of the audio file. You may also detach the Show Sel/View Controls window and have it float above Adobe Audition’s main window. It can display information such as sample format.ADOBE AUDITION 27 User Guide Since Sel/View Controls is a dockable window.2 decibels. For instance. and changes dynamically when the mouse cursor is moved. You may also access Status Bar options from Adobe Audition’s View menu. envelope positions for effects envelopes. Status Bar The Status Bar window runs along the very bottom of Adobe Audition’s main window. Data Under Cursor This shows useful information such as the channel (if a current waveform is stereo). then the current waveform is 308 kilobytes (KB) in size. sample information about the currently loaded waveform is displayed. and free disk space. file size. click on the “X” control in its title bar. In the Multitrack View. Sample Format When this item is checked.247 seconds long.242 seconds into the waveform. measured in kilobytes. the amplitude (measured in dB). you can reposition it at one of several places in the Adobe Audition interface.

For instance. based upon the currently selected sample rate. and thousandths of seconds. or press the Alt+9 keyboard shortcut. Window Menu – Edit View When you’re working in Edit View mode. Click on a file’s name to make it the active file in the Wave Display. To activate the Organizer window. This value is shown as minutes. use the Switch To… command or Adobe Audition’s Organizer window.025 kHz. and Alt keys shown in the status bar.28 CHAPTER 2 Looking at the Work Area Free Space (time) Check this item to have Adobe Audition display the amount of available time left for recording. Shift. Instead of using the Window menu. try using the Files tab of Adobe Audition’s Organizer window. Note: If you have more than 10 waveforms active. the time left might read something like “4399:15.100 kHz. Click on the + sign to expand the entry so you can jump directly to any of the cue ranges it includes. Switch To Window Note: If you have a waveform open that has a cue range in it. Think of this section of the Windows menu as a MRU (“Most Recently Used”) list of open waveforms.736 free”. the Window menu gives you a simple way to switch between open files. and the remaining time value becomes “680:44. Keyboard Modifiers Select this option if you wish to have the status of your keyboard’s Ctrl. if Adobe Audition is set to record an 8-bit mono waveform at 11. seconds. Currently Open Waveform List Entries for up to 10 open waveforms are listed. go to the View Menu and click on Show Organizer Window. only the last 10 opened will appear on the Windows menu. Change the recording options to 16-bit stereo at 44. . Switch To Access the Switch To… command to show a list of all open files. If you need to access another open waveform whose name isn’t listed. there will be a + sign next to its name.527 free”.

• mu-Law 8-bit is the international standard telecommunications encoding format. so look for the Options… button to be enabled in Adobe Audition’s Save Waveform As dialog. Some of these formats will have options. you may first need to use Edit > Convert Sample Type to convert the file to a format supported by the ACM codec. and is the default option.wav) The A-Law and mu-Law formats (CCITT standard G. Note: If you want to load from or save to a format that’s not listed here. so does the 64-bit doubles format. since audio in MOD files is 8-bit signed. it’s at the price of a bit more distortion than the original 16-bit audio. but the actual sample rate can be changed once the file is loaded using Edit > Adjust Sample Rate. use File > Open As or File > Save As. or 16 bytes per sample stereo interleaved. While A-law and mu-Law encoded waveforms have a higher signal-to-noise ratio than 8-bit PCM. click on Options…. so you should not save to this format from 8-bit. 8-bit signed (. 64-bit doubles (RAW) (. the quality is higher than you would get with some 4-bit ADPCM formats. Options Choose from the following: • A-Law 8-bit is a slight variation of the standard mu-Law format. and try to find the format you want to use. These encoding formats compress the original 16-bit audio down to 8 bits (for a 2:1 compression ratio) with a dynamic range of about 13-bits (78 dB). or exported to files in this format. The sample rate is assumed to be 22050Hz. When exporting to an ACM format. Note: Files saved in this format will automatically be expanded to 16-bits when loaded.29 Chapter 3: Wave File Formats Supported by Adobe Audition T he following is a list of the various wave file formats that Adobe Audition currently supports. Just as raw PCM has no header and is just audio data. Still.sam) This format is popular for building MOD files. To do this. you may be able to use an ACM Waveform codec to do so. arranged in the order they appear in Adobe Audition’s Save Waveform As dialog. and is found in European systems.sam extension is assumed to be 8-bit signed raw data with no header. 8-bit signed raw format data with the .711) are common in telephony applications. .dbl) This format is 8-byte doubles in binary form – 8 bytes per sample mono. A/mu-Law Wave (. Many MOD editors allow samples to be inserted from files.

etc. choose the type of dithering you wish: Triangular Dither.30 CHAPTER 3 Wave File Formats Supported by Adobe Audition ACM Waveform (.aif. • Filter is the ACM format you wish to save in. Amiga IFF-8SVX (. etc. AIFF files support mono or stereo. 16-bit or 8-bit. Radio. Three are provided initially: CD. the file will be saved using the compressed 4-bit Fibonacci Delta encoded format. even though this format (like Windows WAV) can contain any one of a number of data formats. Shaped Gaussian Dither. A variety of sample rates are supported. or CCITT for the various CCITT formats) or the manufacturer of the hardware that uses the format in question. The available ACM formats are displayed in the Choose ACM Format dialog that appears when you press the Options… button on the Save Waveform As dialog. No Dithering is the default.svx) The Amiga 8SVX format is an 8-bit mono format from the Commodore Amiga computer. you should first use Edit > Convert Sample Type to convert the file to 8KHz/mono/16-bit. or Noise Shaping B.wav): Nearly any file format supported by the Microsoft Audio Compression Manager (ACM) can be loaded or saved in Adobe Audition. resolution. For more information on any particular ACM driver. . • Data Formatted As 4-bit Fibonacci Delta Encoded: With this selection made. contact the creator of the format (such as DSP Group for TrueSpeech.) and the Filter chosen. Adobe Audition only supports the PCM encoded portion of the data.iff. • Write as RAW Data: Check this box to save the waveform as RAW data.). Note: The ACM driver you want to use may require that the file be in a specific format before saving. Like Windows WAV. Options Choose from the following: • Data Formatted As 8-bit Signed: Check this option to save the audio file in uncompressed 8-bit Signed format. Noise Shaping A. Note that this list will display only those formats that are compatible with the current waveform’s properties (stereo/mono.snd) This is Apple’s standard wave file format. because that’s the only format supported by the TrueSpeech ACM driver. and Telephone Quality. • Dithering from 16-bit: If you’re saving from a 16-bit file. which is the default. • Attributes: The available attributes will depend on the original attributes of the file (sample rate. Options Set the following: • Name displays the name of any saved format presets. if you want to save a file in the DSP Group TrueSpeech format. Apple AIFF (. . . and a wide range of sample rates. For example. • Save As: Click this button to save additional preset format/attribute combinations.

Options Choose any of the following: • Include Format Header places a header before the data.0 and 1. However. The first is the loop info. This is very short.. just as it’s saved with a ..0. When working with a loop. This includes number of beats.wav file and is set under View > Wave Properties > Loop Info. The header is formatted as KEYWORD: value with the keywords being: SAMPLES. though.aif or .txt) Audio data can be read to or written from files in a standard text format. tempo. add the . key. Audition Loop (. An optional header can be placed before the data. and channels separated by a tab character.snd extension to the file and load it using the Apple AIFF file filter. and NORMALIZED. The . with each sample separated by a carriage return.ADOBE AUDITION 31 User Guide The AIFF format is a good choice for PC/Macintosh cross-platform compatibility. and stretch method. BITSPERSAMPLE.cel extension. Before you open AIFF files in Adobe Audition.cel) Audition Loop files are essentially MP3 files with a . SAMPLES: 1582 BITSPERSAMPLE: 16 CHANNELS: 2 SAMPLERATE: 22050 NORMALIZED: FALSE 164 <tab> -1372 492 <tab> -876 etc. When transferred to a Mac. The values for NORMALIZED are either TRUE or FALSE. many Mac applications that support AIFF can recognize the PCM data without this identifier. CHANNELS. It’s in the nature of MP3 files that a very small amount of silence is added to the beginning and/or end of an MP3 file when it’s encoded. but with a header that contains two important items. and often only a few samples long.cel file also works to avoid a problem with MP3 files. you can add the four character code “AIFF” in the file’s resource fork to have it recognized (The Macintosh identifies a file through its “resource”. For example.) ASCII Text Data (. If there is no header text. . then the data is assumed to be 16-bit signed decimal integers. SAMPLERATE. it’s enough to throw the entire loop off. • Normalized Data normalizes the data between -1. which is stripped away when a file is opened on a PC.

This format has no header. Adobe Audition supports both old and new style . It supports both mono and stereo files at a variety of resolutions and sample rates. .voc file that can be played on any Sound Blaster card. Creative Sound Blaster (. it compresses to 4-bits/sample (for a 4:1 ratio).vox will be assumed to be in this format. VOC files can contain information for looping and silence. The newer type of .1 kHz. and has been optimized for low sample rate voice.cel header.cel file. and stereo to 22 kHz.dwd) This is the audio format used by DiamondWare’s Sound Toolkit. DiamondWare Digitized (. and like other ADPCM formats. Options Choose one of the following: • Old Style saves your audio as an 8-bit .dw. Adobe Audition calculates how much silence is going to be added to the MP3 file and writes this information into the . If the file you’re loading contains loops and silence blocks. Dialogic ADPCM (. Options The file saving options are identical to the ones for mp3PRO® (. as you’ll need to enter it upon reopening the file. mono to 44. Then. which are documented later in this chapter.voc) This is the Sound Blaster and Sound Blaster Pro voice file format. a programmer's library that lets you quickly and easily add high quality interactive audio to games and multimedia applications.voc format only supports 8-bit audio.com for more information.vox) The Dialogic ADPCM format is commonly found in telephony applications. you’ll be prompted for a sample rate unless Don’t ask for further details is checked in the Open a Waveform dialog. Note: Take note of the sample rate of your audio before saving as Dialogic VOX. When opening VOX files.voc format that supports both 8-bit and 16-bit audio. it reads this silence information and automatically removes the silence from the file so that it’ll loop smoothly. they’ll be expanded while loading. • New Style allows you to save to the newer . when Adobe Audition loads a .mp3) files.voc files.cel file. It will only save mono 16-bit audio.voc file supports both 8-bit and 16-bit audio. See http://www. so any file format with the extension .32 CHAPTER 3 Wave File Formats Supported by Adobe Audition As it saves a . The older .

Select this option when smaller file size is more important than audio quality. it’s best to save to this format from a 16-bit waveform rather than 8-bit.The 3-bit ADPCM files produced with this option use a compression ratio of 5. Some systems might have problems playing back files compressed with this option. 8:1 • This option creates ADPCM . which provides better quality. 4:1 -. For this reason. The time taken to read an ADPCM compressed file is the same no matter which option you choose. and has different distortion characteristics. with a compression ratio of 3. Options Choose from the following: • 2 bits/sample.81:1). This compression scheme can be a good alternative to MPEG. Microsoft ADPCM (. especially stereo files. . • Large (Default Quality). Files saved in this format will automatically be expanded to 16-bits when loaded.wav files with the highest compression ratio (8:1). the quality will be lower than if you use the Multiple Pass option.3:1 -.3:1. each with a different compression ratio and quality level. Options Choose from the following: • Single Pass compresses files in a single pass.wav) The International Multimedia Association (IMA) flavor of ADPCM compresses 16-bit data to 4 bits/sample (4:1) using a different (faster) method than Microsoft ADPCM. • 4 bits/sample.Use this option for the best quality.wav) The Microsoft ADPCM format consists of 4-bit per channel compressed data. which provides 4:1 compression.25:1). with an increased quality level. and may not be able to be played back on all systems. However. regardless of their original resolution.98:1. 3. which can produce either better or worse results depending on the sample being compressed. • Small (High Quality) offers the best quality ADPCM sound at a trade-off of larger files due to the smaller compression ratio (3. your files will be slightly larger than with the Large option. this compression rate is less compatible than the standard 4-bit. Use this option if you’re in a hurry. but with the lowest number of bits. it provides reasonably fast decoding of 4:1 compression. As with Microsoft ADPCM. since more bits and a lower compression ratio are used. • 3 bits/sample.ADOBE AUDITION 33 User Guide DVI/IMA ADPCM (. and it degrades sample quality only slightly. and may not work on all systems. However. • 5 bits/sample. it’s best to save to this format from 16-bit rather than from 8-bit. 5. which produces 4-bit files at a compression ratio of 4:1.This is the default option. but not quite as good as the 4 and 5 bits choices.2:1 -. as the quality will be much greater. This is the default setting. • Block Size offers three size options. but because the compression ratio is a bit smaller (3. Keep in mind that this compression rate is less compatible than the standard 4-bit. • Medium (Good Quality). Quality is better than with the 2 bits option. • Multiple Pass compresses files using multiple passes.

and has many data types. which means that you can save standard. • G. 16-bit or 8-bit.721 ADPCM.snd) This format is the standard found on NeXT and Sun computers.smp) The SampleVision format is used by Turtle Beach’s SampleVision program. it’s decompressed into Adobe Audition’s uncompressed internal format. Adobe Audition supports the CCITT mu-Law. streaming applications (via Internet.wav file). This format also supports loop points. The Label of the cue must be in the format Loop n.mp3 file back to disk as any file format (including as a standard . Check your online documentation and help for details on the options for saving mp3PRO. and m is the mode: 0 = no looping. . When a file is saved as MP3. SampleVision (. non-pro mp3s by unselecting the “pro” setting in the mp3 options. cable and/or other distribution channels). It supports only mono 16-bit audio. please visit http://mp3licensing. you’ll be asked to convert it before saving. other content distribution systems (pay-audio or audio-on-demand applications and the like) or on physical media (compact discs. This allows you to save the . Next/Sun (. hard drives. Options Choose from the following: • mu-Law 8-bit compresses the file using the mu-Law 8-bit format. 1 = forward loop. it’s encoded and compressed as specified by the MP3 settings.721 (ADPCM at 32 kbits/second) to compress the file. Adobe Audition’s Play List is used to enter the number of times to loop the cue range. semiconductor chips.mp3) The mp3Pro filter enables Adobe Audition to directly encode (save) and decode (open) .mp3 files. this format can support mono or stereo. 2 = forward/back loop. satellite. As an . AU is used quite extensively for distribution on the Internet. An independent license for such use is required. G. (This is the default.mp3 file is opened. and then enter the number of times to loop. and linear PCM data variants. . and for inclusion in Java applications and applets. If your data is in a different format. Add the cue range to the Play List.com. A-Law. m where n is the loop number from 1 to 8. and a wide range of sample rates when saved as linear PCM. Supply of this product does not convey a license nor imply any right to distribute content created with this product in revenue-generating broadcast systems (terrestrial. intranets and/or other networks).34 CHAPTER 3 Wave File Formats Supported by Adobe Audition mp3Pro® (.) • A-Law 8-bit uses the A-Law 8-bit format to compress the file. The most common use for the AU file format is for compressing 16-bit data to 8-bit mu-law data. For details. which can be edited using Adobe Audition’s Cue List. digital versatile discs.721 ADPCM 4-bit uses the CCITT G. memory cards and the like). Note: The mp3PRO filter encapsulates standard mp3 file support. • Linear PCM saves the file as uncompressed linear PCM.au. Like Windows WAV and AIFF files.

but larger and smaller values are valid and not clipped since the floating point exponent is saved as well. Windows Media Audio(.wma settings. If you wish to apply a noise shaped dither. • 32-bit 0. (Adobe Audition will not clip.8 float (type 1 – 32-bit) is Adobe Audition’s internal format. . depth 1. or with actual data.wav BitsPerSample field is set to 32 and BlockAlign is set to 4 bytes per channel. and a BitsPerSample field between 17 and 24 inclusively will read in all 24 bits and assume the remaining bits are either accurate or set to zero. Applications should either fill those last 4 bits with zeros.wav BitsPerSample field is set to 24 and BlockAlign is set to 3 bytes per channel.wma file.wma files. 24-bit. WAV files contain PCM coded audio – which is pure. Check your online documentation and help for details on the options for saving Windows Media Audio files. use Edit > Convert Sample Type… to dither the audio first.wma file is opened. When a file is saved as a .wav) The Microsoft Windows WAV format supports both mono and stereo files at a variety of resolutions and sample rates. but read the same value back if it’s beyond this range. but the . uncompressed Pulse Code Modulation formatted data.0. or 32-bit). and allows for extra user information to be embedded and saved with the wave file. they’ll be disabled (“grayed-out”) at other times: • 32-bit 24. • 24-bit packed int (type 1 – 20-bit) saves straight 24-bit integers (so any data beyond the bounds is clipped).wma file back to disk as any file format (including as a standard .wav files. It follows the RIFF (Resource Information File Format) specification. Values are normalized to the range +/-1.wav file).0 float (type 1 – 24-bit) saves full 32-bit floats (in the range of +/-8million). and are used when reading (thus still giving 24-bit accuracy if those bits were actually present when writing). it’s encoded and compressed as specified by the . Options These formatting options are available only to 32-bit files. Floating point values are in the range of +/- 32768. The . • Enable Dithering will dither 32-bit files when saving to a PCM format (20-bit.) • 24-bit pack int (type 1 – 24-bit) saves straight 24-bit integers so any data beyond the bounds are clipped.0 and although values above and below this range are saved. As a .wma) The Windows Media Audio filter enables Adobe Audition to directly encode (save) and decode (open) . but generally analog/digital converters that generate 20 bits of valid data automatically set the remaining 4 bits to zero. some programs may clip when reading them back in.24 normalized float (type 3 – 32-bit) is the standard floating point format for type 3 .wav BitsPerSample field is set to 20 and BlockAlign is set to 3 bytes per channel.wav BitsPerSample field is set to 24 while BlockAlign is still set to 4 bytes per channel. Any type 1 format with BlockAlign set to 3 bytes per channel is assumed to be packed integers.ADOBE AUDITION 35 User Guide Windows PCM (. This allows you to save the . The dither used is a Triangular dither. then save without dither enabled in the file format options. • 32-bit int (type 1 – 32-bit) saves 32-bit audio as 32-bit integers. • 32-bit 16. The . The extra 4 bits that are saved are actually the remaining valid bits when saving. with no noise shaping. it’s decompressed into Adobe Audition’s uncompressed internal format. The .0. This option is only available if you have a 32-bit file and you select to save it as a nonfloating-point type format.

For this reason. Options Choose from the following: • Data Formatted As 16-bit PCM (LSB. • Data Formatted As 8-bit A-Law Compressed saves data in 8-bit A-Law compressed format. etc. resolution. . or sometimes throughout.raw) This format is simply the PCM dump of all data for the wave.pcm) (. You can also interpret the data as A-Law or mu-Law compressed.) • Data Formatted As 16-bit PCM (MSB. (32bit files can have input data offset by +2 or +3 bytes as well. When guessing at these parameters upon opening. you’re asked to select the sample rate. No header information is contained in the file. and Voilà! – you’ve read in a wave in an unknown format. you may hear clicks at the start. With this option you’ll be able to offset the input data by +1 byte if desired.dat file to make reloading the file easier. and number of channels upon opening. the waveform may sound incorrect (in different ways. By opening audio data as PCM. These clicks are various header information being interpreted as waveform material.36 CHAPTER 3 Wave File Formats Supported by Adobe Audition PCM Raw Data (. • Create . MSB) saves data formatted as an uncompressed 16-bit PCM file with the Least Significant Bit first and the Most Significant Bit last.DAT header on save writes a header to a separate . you can interpret almost any audio file format – but make sure you have some idea about the sample rate. depending on which parameters you have mixed up). Just cut these out. end.) • Data Formatted As 8-bit mu-Law Compressed saves PCM data in 8-bit mu-Law compressed format. number of channels. Once the waveform is loaded and sounds fine. With this option you’ll be able to offset the input data by +1 byte if desired. (The input data of 32-bit files may be offset by +2 or +3 bytes as well. LSB) saves as an uncompressed 16-bit PCM file with the Most Significant Bit first and the Least Significant Bit last.

37 Chapter 4: Navigating the Edit View E dit View is one of Adobe Audition’s two major workspaces (Multitrack View is the other). play. and edit single waveforms…and lots more. from delay effects like echoes and reverbs. Note: Interface components that are common to both Edit View and Multitrack View (such as the Level Meters and the Transport Buttons) are documented in the “Looking at the Work Area” chapter. to advanced functions such as noise reduction and dynamics processing. convert. Most of this chapter will concentrate on the largest portion of the Edit View: the Wave Display. About Edit View The following is a typical layout for Adobe Audition’s Edit View Screen: A typical Edit View screen with the Organizer Window open . The Wave Display is the area where waveforms are visualized and modified. A wealth of effects are at your disposal. Use Edit View to record. while all of the items referenced on the Edit View’s drop-down menus are explained in the Edit View menu chapters.

The waveform’s left channel appears at the top of the window while the right channel is at the bottom. whether you can see it all or not. A stereo waveform The total height of the Wave Display window is utilized for mono waveforms. The mouse cursor will acquire a boxed “L” when you do this. and drag the boundary to its new location. A mono waveform Navigating the Wave Display The following movements are crucial to navigating the Wave Display window: Defining a Range Left-click on one side of the range portion you want to select and drag left or right. Triple-click in the Wave Display to select the entire waveform.38 CHAPTER 4 Navigating the Edit View Stereo vs. the Wave Display is split horizontally. Mono If a stereo waveform is loaded. Selecting Only the Left Channel Click near the top of the left (upper) channel to select the left channel only. The mouse cursor will acquire a boxed “R” when you do this. Changing Range Boundaries Hold down the Shift key and left-click on the range boundary you want to move. . Select All Double-click in the Wave Display to select all of the waveform you currently see. Switch between the two methods using Adobe Audition’s View menu. Selecting Only the Right Channel Click near the bottom of the right (lower) channel to select the right channel only. Waveform View/Spectral View The Wave Display offers two ways to represent audio data: Waveform View and Spectral View.

Horizontal Portion Bar • Left-click and drag the little hand over the Horizontal Portion Bar’s “handle” to scroll time-wise through the waveform. Spikes in the x-axis (vertical) indicate increased amplitude. The same 15-second stereo . Colors range from dark blue (which means that next to no amplitude components exist in this frequency range) to bright yellow (meaning that frequencies in this range are high in amplitude). where the x-axis is frequency.wav file displayed using Waveform View • Spectral View displays a waveform by its frequency components. A 15-second stereo . The greater a signal’s amplitude component within a specific frequency range. is at the top of the Wave Display – to scroll forwards and backwards in time throughout a waveform. by default.ADOBE AUDITION 39 User Guide • Waveform View – which is Adobe Audition’s default – displays audio data drawn as a series of positive and negative peaks. and the y-axis is time. It can also be used to zoom in and out horizontally in the Wave Display. This allows you to analyze your audio data to see which frequencies are most prevalent. the brighter the displayed color will be. and the y-axis (horizontal) represents time.wav file displayed using Spectral View Horizontal Portion Bar Use the Horizontal Portion Bar – which. .

• Right-click anywhere on the Horizontal Ruler to call up a menu with several options. Zoom to Selection. and seconds by default). Check the snapping behavior(s) desired.40 CHAPTER 4 Navigating the Edit View • Left-click and drag the magnifying glass (which appears when your mouse passes over the edge of the Horizontal Portion Bar’s “handle”) to change the viewable range of the Wave Display. and Zoom In to Right Edge of Selection. while moving it to the right zooms out. Vertical Ruler The Vertical Ruler – at the right edge of the Wave Display – shows the relative amplitude of a waveform over time. Horizontal Ruler The Horizontal Ruler runs along the bottom of the Wave Display and acts as a timeline. • Right-click on the Horizontal Ruler and drag to select an area to zoom in on. and Zoom Full. minutes. The zoom in occurs when the right mouse button is released. Zoom Out. Zoom In to Left Edge of Selection. Horizontal Ruler • Left-click on the Horizontal Ruler and drag the little hand over the ruler to scroll time-wise through the session. as well as returning it to its default position at the top of the Wave Display. Display Time Format This submenu allows you to choose the time format the Horizontal Ruler uses. Snapping Snapping allows the edges of any block to “snap” to certain time locations when being dragged. Zoom Full. The menu also has options for moving the Horizontal Portion Bar to the bottom of the Wave Display. Vertical Ruler . • Right-click anywhere on the Horizontal Portion Bar to call up a menu with three zooming options: Zoom In. Zoom Out. Moving the magnifying glass to the left zooms in. It measures time in the same format specified in the View > Display Time Format menu (which is hours. Zooming Six zoom commands are provided here: Zoom In.

The Vertical Ruler also provides access to the following display options: • Left-clicking and dragging the little hand vertically over the Vertical Ruler allows you to scroll through Adobe Audition’s visible amplitude ranges that might extend beyond the traditional amplitude scale values. • Right-clicking on the Vertical Ruler calls up a menu that not only lets you choose one of the aforementioned display formats. You can record from a microphone. . and Decibels – by doing one of the following: • Right-click on the Vertical Ruler to switch display formats from a pop-up menu.ADOBE AUDITION 41 User Guide By default its display format is set to Sample Values (the exact sample value of the audio data). • Zoom Full: Zooms out the vertical scale resolution of a waveform’s amplitude display completely. 4 When you’re done recording. 1 Use File > New to create a new file. Recording in Edit View Recording with Adobe Audition in Edit View is easy. but provides three Zoom options: • Zoom In: Decreases the vertical scale resolution of a waveform’s amplitude display incrementally. 2 Select the sample rate. but it can easily be switched to three other types – Normalized Values. (For most folks this is done using the Windows Mixer. 5 Edit as needed. Note: You may need to adjust your input signal to obtain the optimum recording and signal-to-noise levels. bit resolution.) To record in Edit View. • Double-click on the Vertical Ruler to cycle through all of the display formats. Note: When the wave display is set to Spectral View. • Go to Adobe Audition’s View > Vertical Scale Format menu and make a selection. your computer’s CD player. a MIDI source. or any signal you can plug into the “Line in” port of your sound card. • Right-clicking and dragging over the Vertical Ruler automatically zooms the waveform window to show only the specified amplitude scale. click on the Stop button in the Track Controls window. Percentage. and number of channels (stereo or mono) that you want to use and press OK. and then save your recording to disk using File > Save As. the vertical scale is always in Hertz (Hz). • Zoom Out: Increases the vertical scale resolution of a waveform’s amplitude display incrementally. 3 Click on the Record button in the Track Controls window to begin recording.

you can push the Extend Selection radio button in the Settings window’s General tab to have a right-click extend a selection in the Wave Display. If there isn’t a highlighted segment. the inserted audio is placed in the next available track at the beginning of the window’s timeline. Paste Paste inserts data from the active clipboard at the insertion point. the entire current waveform is inserted. Select View This command selects the contents of just the Wave Display area that you’re viewing. Either way. the current clipboard must be set to Windows. or highlighted part of the waveform. Copy to New When this command is run. it puts five such “super clipboards” at your disposal. Keep in mind that if you want to copy audio to another Windows application. which are faster and can handle more data. Insert Into Multitrack This command takes the currently highlighted portion of a waveform and inserts it as a waveform block in the Multitrack View window. a Wave Display right-click brings up a menu.42 CHAPTER 4 Navigating the Edit View Wave Display Right-Click Menu Right-click in the Wave Display window to bring up a menu with several useful commands. Cut Use Cut to remove the current waveform. to the active clipboard. to the active clipboard. use one of Adobe Audition’s internal clipboards. or highlighted part of the waveform. is copied to the active clipboard and then automatically pasted into a new Wave Display window. the current waveform. Notice that most have keyboard shortcuts listed next to their name. or highlighted part of the waveform. Adobe Audition automatically converts it before pasting. Wave Display Right-Click Menu Note: By going to Options > Settings. If the format of the waveform data on the clipboard is different from the format of the file it’s being pasted into. However. By default. or it replaces the currently highlighted data. this means you’ll then need to hold down the Ctrl key as you right-click to display the menu. (As a matter of fact.) Copy This command copies the current waveform. you can change the behavior of your mouse’s right-click button in the Wave Display. Otherwise. by default it uses its own internal clipboard which is faster and more suitable for working with large waveforms. You’ll find that using these shortcuts for frequently used commands will speed up the editing process considerably. . Select Entire Wave The entire waveform is selected (highlighted) with this command. Note: While Adobe Audition can use the Windows clipboard for cut and paste operations.

The Wave Display zoomed in to the sample level Instead of looking “wavy. Should the format of the waveform data on the clipboard differ from the format of the file it’s being pasted into. Wave Properties Access this command to bring up a tabbed window that lets you embed text and graphics. Note: The deleted portion(s) aren’t copied to the clipboard and can only be retrieved using the Edit > Undo command. Add to Cue List This command adds the current cursor position to Adobe Audition’s Cue List. Note: You must select part or all of your waveform first in order for Silence to work. . Right-click on a sample to display the Edit Sample Directly dialog. and simply zeroes the amplitude within it.) Clipboard data is inserted or overlapped beginning at the current insertion point or selection.ADOBE AUDITION 43 User Guide Mix Paste Use Mix Paste to mix any audio data from the active clipboard with the currently shown waveform. specify certain parameters. select a small portion of the waveform and use the Zoom to Selection button (one of Adobe Audition’s Zoom Buttons) to zoom in as far as you can go. or by File > Revert to Saved if you haven’t saved the file since trimming. Edit Sample Directly If you Zoom In far enough in Edit View. and get information about the active waveform. (You might think of it as a “quick and dirty” alternative to Adobe Audition’s more powerful and flexible multitrack functions. Left-click on a sample and drag it up or down as desired. Unlike deleting or cutting a selection – which splices the surrounding material together – Silence leaves the duration of the selection intact. Move your mouse cursor over one. Those squares are samples. Adobe Audition automatically converts it before pasting. Trim Trim is used to get rid of unwanted audio (like silence) on one or both sides of the selected audio. you can modify each sample of a waveform directly.” the waveform is displayed as a sequence of squares strung together by a line. You’ll notice the cursor turns into a hand pointer. To do this. Silence This function silences out the selected range of the waveform. Everything in the waveform is removed except for the highlighted selection.

Negative numbers mean that the sample is below the horizontal center of the waveform. or Normalize +/. • Sample Value is the value of the sample as measured using one of the four Interpret As options below. while positive numbers mean that the sample is above the waveform’s center. Here are the major components of the Edit Sample Directly dialog: • Sample is the number of the sample as measured from the beginning of the waveform.1. • Interpret As is four options that determine how the Sample Value is measured. 16-bit range. 24-bit range.44 CHAPTER 4 Navigating the Edit View The Edit Sample Directly dialog.0. Choose from 8-bit range. .

Popular sample rates are already listed. The New Waveform window appears so that you can choose the new file’s properties. Audio CDs use a sample rate of 41000 and a resolution of 16 bits per sample. perform batch conversions. While they tend to be noisier than their 16bit counterparts. keep in mind that most sound cards only support certain sample rates. and Resolution. This is usually the best option for a music recording. or for use as embedded sounds in Web pages. Or. Higher sampling rates mean a wider bandwidth. they’re half the size. empty waveform. Channels Select Mono if you want to record a waveform with just one channel of audio information (such as a voice- only recording). However.45 Chapter 5: File Menu – Edit View U New se the commands on the File Menu to open. stereo waveforms consume double the storage space of mono waveforms. Options are provided for Sample Rate. just click on one to select it. import audio from video files. save. New Waveform Dialog You’ll get better-quality sound when you use a higher sample rate and resolution. Sample Rate This value determines how many frequencies can be encoded in the audio signal. but you’ll use more hard disk space. access recently used waveforms. Channels. Because they contain twice as much data. Select File > New to create a new. . Resolution Three options are provided: • 8-bit creates waveforms where quality is not much of a concern. enter a custom number in the Sample Rate box to specify a different rate from those provided. 8-bit waveforms are usually fine for telephony applications. The Stereo option allows you to create a two-channel waveform with separate right and left channels. and more. but small file size is. and close wave files.

Open a Waveform Dialog Here are the components of the Open a Waveform dialog: Recent Folders This shows the folders you’ve most recently opened with Adobe Audition. plus the ability to take advantage of the power in sound cards that go beyond the 16-bit standard (such as a 24-bit card). Adobe Audition automatically converts the audio file into an internal temporary waveform for quicker editing and better handling of large files. The Open a Waveform dialog appears. This dialog looks and works similarly to a standard Windows Explorer Open window (including allowing you to use the Ctrl and Shift keys to select multiple non-contiguous and contiguous files respectively). No matter which of the wide variety of supported waveform types you load.46 CHAPTER 5 File Menu – Edit View • 16-bit produces CD-quality waveforms. go to Options > Device Properties. Open Use this command to load an existing waveform or CD track into an Adobe Audition editing window. . Press the Options button in the Edit View’s File > Save As dialog to access 32-bit options. One benefit of 32-bit audio is more precise audio processing. allowing you to select one or more audio files for listening or modification. This setting is suitable for most broadcast and music recording. your sound card may not be able to play them properly. you’ll need to convert waveforms stored and processed at this rate to a lower bit rate (such as 16-bit) for playback. If that’s the case. but adds useful Adobe Audition-specific features. Select a folder name from the drop-down box to quickly navigate to it. • 32-bit creates a waveform that lets you work at the 32-bit level. Note: Although Adobe Audition can create and edit 32-bit files. To see the capabilities of your system.

snd).wav or *. However. which shifts between open files in the forward direction. better results are achieved if you only append files of the same sample rate. A-law/mu-law compression.au. if it resides in the current folder. Auto Play Check this box to have Adobe Audition automatically play a sound file when you highlight it in the Open a Waveform window. Open Append Use this command to add one or more waveforms to the end of the currently shown waveform in the editing window. and/or channel type.wav) or Next/Sun (*. except that it lets you specify the sample format before opening a file. the program uses the last settings specified when you opened a headerless file.) You can also play individual files when Auto Play is unchecked. Show File Information With this box checked. sample rate.*. Since this function doesn’t pre-filter or post-filter the samples.extension (such as *. Entering *. Terminate playback by clicking on the Stop button. Don’t ask for further details If you check this box.mp3) displays all files with that extension in the open folder. Open As The File > Open As command is similar to File > Open. selecting the All files (*. This handy feature lets you quickly audition files before you load them into an editing window. If the waveform being added is of a different type. Files of type Use this control to filter the display of files in the current folder to a specific type of supported waveform. Note: When multiple files are open in the Edit View. bit resolution. Adobe Audition displays useful details about the selected waveform such as format type. Instead. bit rate. headerless PCM file. and running time. you won’t be prompted for more information about the waveform format after you choose a file to open. full size. which replaces the Play button when a sound is playing. For instance. Adobe Audition automatically converts it as it’s opened.*) listing displays all files in the current folder. Adobe Audition won’t ask you for the sample rate.ADOBE AUDITION 47 User Guide Look in Use this control to navigate through all available drives and folders. if you double-click on a raw. (Keep in mind that you can only play file types that are supported by your system. such as Windows PCM (*. you’ll get better-sounding results when changing sample rates by opening the file(s) normally and using the Edit > Convert Sample Type function. Just select a waveform and click on the Play button in the Open a Waveform window. or any other details. File Name Here’s where you may specify the name of the file you desire to open. . As you’d expect. since no number-crunching is required to change between rates. Think of it as a quick way to make changes to one or more existing waveforms’ sample rate. you can easily select between them holding down the Ctrl+Tab keys simultaneously. Use the Ctrl+Shift+Tab key combination to move between open waveforms in the reverse direction.

The Choose a Video File window (similar to a standard Windows File > Open window) appears.) While CD tracks may be ripped using Adobe Audition’s File > Open dialog.48 CHAPTER 5 File Menu – Edit View Note: Appended cue points are automatically placed within Adobe Audition’s Cue List. . most newer CD-ROM drives do. where it can be modified just like any supported sound file. (Keep in mind that you must have a CD-ROM drive that supports audio extraction in order to use this feature. such as the abilities to rip partial tracks and specify the ripping process used. The Extract Audio From CD function gives you more control over the extraction procedure. making it simple to locate the edit boundaries later. The video’s audio is placed in an editing window. This extraction process is commonly known as “ripping”. Choose a Video File Dialog Extract Audio From CD Use Adobe Audition’s Extract Audio From CD feature to digitally pull out sound from audio compact discs and place it into the Wave Display for editing. allowing you to select one or more video files. Extract Audio from Video The command lets you extract the soundtrack from any type of video file that Adobe Audition supports. Luckily.

if only a short bit of audio is selected for extraction. • Track: If you want to extract one or more complete CD tracks.ADOBE AUDITION 49 User Guide The Extract Audio From CD dialog Here are the major components of the Extract Audio From CD dialog: Device If your system has more than one CD-ROM drive. but where the audio appears within the CD. use this drop-down list to select the drive you want to use for extraction. • Time: To extract part of a track or a segment of audio that spans multiple tracks. . you might not see any change in the appearance of the Range bar.) The actual start and length times are displayed in Min:Sec:Frame format above their respective boxes. push the Track button.) Click on the desired track names to select them for extraction. The Time option is great for pulling “hidden” tracks from CDs. (There are 75 frames in each second of compact disc audio. simultaneously holding down the Ctrl key to choose non-contiguous tracks or the Shift key for contiguous selection. along with their lengths stated in Min:Sec:Frame format. push the Time button. as well as to join tracks that have been broken up by track indices (such as performance track CDs and live albums). Source Selection Two methods of choosing the exact audio you wish to extract are provided: Track and Time. (There are 75 frames in one second of CD audio. and the total number of frames you wish to extract in the Length box. The Range bar provides a graphical representation of not only the amount of audio that will be extracted. Enter the beginning frame in the Start box. However. A list of all tracks on the compact disc is shown.

) • MMC – Read CD: This is the SCSI 3 specific command. • CD Speed: This drop-down control lists all extraction speeds that your selected CD-ROM drive supports. Under normal circumstances. (ASPI. All SCSI devices are required to support this command. Many people will find satisfactory results with the Max (Maximum) Speed option. try choosing a slower speed. while PCs need data reported using the Big Endian method. but since it’s optional. developed by Adaptec. check it only if the extraction process seems to work fine but the audio results are “garbage”. try this setting first. the left channel of the CD’s audio is placed in the right channel of Adobe Audition’s Wave Display. While higher sizes mean faster ripping. If you have a newer CD-ROM drive. they could introduce errors into the ripped file. You would normally leave this box unchecked. Many SCSI devices support this command. The default is 16 KB. However. and it’s the command that most all recent drives will work with. but you’re welcome to experiment with the other sizes (which range all the way to the highest buffer size your CD-ROM drive supports). at this writing it’s only available on Windows NT. (The SCSI 2 specs made no accommodations for CD ripping.50 CHAPTER 5 File Menu – Edit View Interface Options Two main options are provided: Generic Win32 and ASPI/SPTI. • Swap Byte Order: Some CD-ROM drives designed to work only with other types of computers (like DEC and Macintosh systems) report data using the Little Endian byte order. which therefore determines how much data is pulled from the CD in each call to the read command. • SBC – Read6: This is a standard SCSI read command that uses a 6-byte SRB (SCSI Request Block). while the CD’s right channel audio is placed in the Wave Display’s left channel. • SBC – Read10: This is a standard SCSI read command that uses a 10-byte SRB (SCSI Request Block).) Generic Win32 should only be used if the ASPI/SPTI setting doesn’t produce satisfactory results. • Swap Channels: When this box is checked. (The Generic Win32 option causes the Extract Audio From CD feature to use Input/Output control codes instead of SCSI commands. stands for Advance SCSI Programming Interface. • Plextor (D8): Use this setting with older Plextor CD-ROM drives. . and was implemented by Microsoft as an Operating System-supported way of sending SCSI commands. Windows 2000. several additional options are available: • Read Method is a drop-down menu that lets you choose the way Adobe Audition reads CD audio. and lets you choose the speed you want to use. • Buffer Size: The figure in the Buffer Size box specifies the amount of data Adobe Audition calls into the CD Extraction module to fetch. and Windows XP.) When the ASPI/SPTI button is pushed. if extraction at maximum speed produces errors. • NEC (D4): Use this setting with older NEC CD-ROM drives. not all do. It sends the D8 SCSI Op Code to the CD-ROM drive. Checking this box changes the byte order from Little Endian to Big Endian or vice-versa. • D5: This command sends the D5 SCSI Op Code to the CD-ROM drive. SPTI is an acronym for SCSI Pass Through Interface. ASPI/SPTI should be selected. many of them developed before the SCSI 3 specifications were published. Several methods are provided.

Close Only Non-Session Waveforms All waveforms not currently inserted in a multitrack session are closed when this command is used. as you’d expect. However. check the Spin Up Before Extraction box. Revert to Saved Use Revert to Saved to reload the currently visible waveform from disk. To add the current settings as a preset.ADOBE AUDITION 51 User Guide • Spin Up Before Extraction: Some CD-ROM drives have better accuracy when they first read the CD if the drive is already spinning. You’re prompted to save. Preview Press the Preview button to audition the CD audio that will be extracted. Close This closes the currently displayed editing window. having this box checked doesn’t really provide any advantages. • No Correction. • The Jitter Correction option compensates for data reading problems that older drives might have. Adobe Audition asks you if you wish to save them. Close All Waves and Session Use this command to close all editing windows and the current multitrack session (if any) simultaneously. To remove a stored preset. which allow you to save and recall favorite settings. the Preview button turns into a Stop button. Otherwise. Click it to discontinue the preview. it’s automatically “CDDA Accurate”. no error correction is needed. select it and press the Del button. Error Correction If a CD-ROM drive supports SCSI3 and ReadCD. since Adobe Audition actually rips the preview audio. A box will pop up to allow you to name the preset. means that no error correction will be performed. . When a waveform is closed. if necessary. (Your CD-ROM drive doesn’t need to be physically hooked up to your sound card in order to hear the preview. Presets The Extract Audio From CD dialog supports Presets. you have access to No Correction and Jitter Correction options. For those types of drives. if your drive isn’t CDDA Accurate. If any changes have been made to the waveform since the last time the file was saved to disk. This discards any edits that were made since the last time the file was saved. press the Add button. This means that the drive has ripping error correction built in. If your drive is like this. unsaved files. You’re given the option to save any modified. so you won’t be able to select any options from this part of the Extract Audio From CD dialog. its associated temporary file is automatically deleted as well.) When the audio begins to play.

No options are provided.wav) or MPEG 3 (*.52 CHAPTER 5 File Menu – Edit View Save This saves a modified waveform to disk using the waveform’s existing name and format. which allows you to save the current waveform to a new name. Select a folder name from the drop-down box to quickly navigate to it. location. . The File > Save As function is also used to save newly recorded waveforms to disk. use the File > Save As command. such as Windows PCM (*. Free space on all available drives is displayed in the right section of the window. File Name Here’s where you specify the name of the file. Save Waveform As Dialog Recent Folders This shows the most recent folders that Adobe Audition has saved files in.mp3). Note: To save newly recorded waveforms. or format. Save as type Use this control to choose the format you wish to save from the drop-down list of supported file types. Save As This command brings up the Save Waveform As window. Save in Use this control to navigate through all available drives and folders.

If the format doesn’t have any options.ADOBE AUDITION 53 User Guide Note: Some formats can’t be written to using waveforms of certain sample types.wav to . Options Most audio file formats support various options. you can break up a long music recording into smaller. Hold down your Ctrl or Shift keys to select non-contiguous or contiguous files respectively. 1 Files This window is where you add files to the list of waveforms to be converted. If you don’t want to see this dialog box again. You can even select an entire folder with the Add Folder button. Batch File Convert Adobe Audition’s handy Batch File Convert tool allows you to easily change multiple waveforms from one audio format to another (such as from . Save Selection File > Save Selection works similarly to the File > Save As command. Adobe Audition asks you if you want to convert before saving. unchecking the box is highly recommended. Or. should you wish to record a number of samples from a friend’s sampler. Adobe Audition also warns you if you’re trying to save a waveform to a compressed (lossy) format. Press the Add Files button to bring up the Please Choose the Source Files dialog (similar to Adobe Audition’s File > Open dialog) to select one or more waveforms. If you plan to burn the waveform to compact disc using another program.) Press the Options button to bring up a window to select the desired settings. continuous file and then split them into their own waveforms. Save All Run the File > Save All command to automatically save all open. For instance.mp3) using a four-window process. This feature is very useful for saving small segments of a larger file. Save extra non-audio information Uncheck this box if you don’t want to save header fields such as copyright/author information and cue marks. except it allows you to save just the highlighted selection of a waveform to its own file. modified waveforms to disk. the Options button is disabled (“grayed out”). more manageable tracks. Some CD recording applications interpret non-audio information incorrectly and will place an unpleasant burst of noise as the beginning of each CD track. check the Don’t display this message in the future box. In this case. . (See the Waveform File Formats chapter for more infor- mation. you could record them as a single. and suggests that you keep a backup of your original file if you wish to preserve full audio fidelity.

or click on the Remove All button to delete all files from the list. Resolution. the destination sample format is the same as the source and the Change Destination Format button is disabled. and other properties. This enables the Change Destination Format button.54 CHAPTER 5 File Menu – Edit View The Files Screen of the Batch File Convert Dialog Press the Remove button to delete highlighted files from the list. If you’re converting Raw PCM files. Check the Hide Path box if you don’t want to see the full path of each file. . 2 Resample Check the Convert Sample Type box if you wish to change each waveform’s sample properties to a common set of values. Channels. press the Open Raw PCM As button to pick the desired Sample Rate. If the box is unchecked.

. where you can select the destination files’ sample properties. Use the Output Format drop-down control to pick the desired format from all of Adobe Audition’s supported file types. 3 New Format Here’s where you choose the format of the destination files.ADOBE AUDITION 55 User Guide The Resample Screen of the Batch File Convert Dialog Pressing the Change Destination Format button brings up Adobe Audition’s Convert Sample Type window.

. you may have to select different file format properties for each entry. where you can adjust the properties for the . Highlight the desired Sample Format Type entry and press the Format Properties button to make the necessary adjustments. if you’re converting waveforms to . depending on the destination format. a 22 kHz mono waveform might need different encoding options than a 44 kHz stereo file. 4 Destination This screen allows you to select the destination folder and the way files are renamed. By selecting the desired radio buttons and check boxes. • delete the source file(s) if the conversion process was successful.56 CHAPTER 5 File Menu – Edit View The New Format Screen of the Batch File Convert Dialog Click on the Format Properties button to bring up the Options screen for the destination format. For example. • remove filenames from the source list once their waveforms have been successfully converted. you can: • save modified files in the same folder as the file’s source file or another folder. For instance.mp3 format. If you see more than one entry in this list. The Sample Format Types box lists the sample properties of the waveforms that are to be converted. you’ll see the MPEG-1 Layer 3 Encoder Options screen. • save existing files with the same name overwritten.mp3 files you’re creating.

Adobe Audition’s undo levels are cleared regularly. . The window also automatically appears when available hard drive space nears zero kilobytes. running the Flush Virtual File command copies the waveform’s contents to the temp folder and closes the file. If your system has lots of available free hard drive space. Free Up Space in Temp Files Use this command to bring up the Free Up Space in Temp Files window for managing Adobe Audition’s use of the space on your hard drive(s). Flush Virtual File Adobe Audition opens waveforms and uses them directly without making a backup in the temp folder. Files are automatically flushed if the entire waveform is modified by Adobe Audition. In most cases. including the instances of Undo for each waveform. If a waveform needs to be closed for deleting or for opening in another program.ADOBE AUDITION 57 User Guide The Destination Screen of the Batch File Convert Dialog Decide how you want the files renamed by modifying the text in the Output Filename Template field. several example templates are shown as guides in case you wish to be more creative in your renaming. After the desired parameters have been set in Batch File Convert’s four tabbed screens. so you may not see this window unless you manually call it from the File menu. the default renaming method is fine (the first part of the filename remains the same but the extension is changed). However. since all changes are written to the temp folder. press the Run Batch button and Adobe Audition automatically processes each file. this command lets an audio file that’s currently being used by Adobe Audition to be simultaneously used by another program or resource application. In other words.

. however. and are used to store these temporary files. such as the application of an Effect or any other edit.) Undo History This part of the window lists the “undone actions” that are currently being retained on your system. Lower Hard Drive Reserves Adobe Audition creates temporary files for use when performing audio edits. indicating that you have run out of storage space. Select the name of the file for which you’d like to remove Undo instances. This frees up hard drive space as well. Press the Set New Reserves button to save the new values you’ve entered as the program’s defaults. highlight an item from the list and press the Clear Undo(s) button. To remove items from the Undo History list. Press the Close File button to close the highlighted file if you no longer need it opened in Adobe Audition. You can temporarily change that reserved space by entering a different amount in MB that you wish to keep free on those drives. The Primary and Secondary drives listed are those that have been set in the System tab of the Options > Settings window. (The waveform in the currently active editing window can’t be closed this way. In case that free space gets low. Adobe Audition won’t make use of it.) This value should increase as you free up space.58 CHAPTER 5 File Menu – Edit View The Free Up Space In Temp Files Dialog Waveform The Waveform list displays the names of the currently open waveforms. Total Available Space This field displays the total amount of hard drive space available to Adobe Audition. (It’s the sum of the free space on your Primary and Secondary drives. The amount of hard drive space each instance consumes is shown. All Undo actions at the selected level and below are removed. The becomes useful only if the Free Some Hard Drive Space window has been automatically invoked by Adobe Audition. Cancel Last Operation Press this button to stop any action in progress.

ADOBE AUDITION 59 User Guide MRU List The Most Recently Used list displays the last nine audio files opened in Adobe Audition. this command closes Adobe Audition. All temporary files that Adobe Audition has created are deleted as well. Exit As you’d expect. type the number that’s associated with the desired file. You can quickly open any of these files (providing they haven’t been deleted or moved) by selecting it from the list with your mouse. If there are any modified waveforms that are open that haven’t been saved to disk. Or. you’ll be asked if you want to save them. .

60 CHAPTER 5 File Menu – Edit View .

Adobe Audition’s Undo and Redo functions are turned on. To do this. Undo This command reverses the last action. go to Options > Settings and click on the System tab.61 Chapter 6: Edit Menu – Edit View T he Edit Menu displays all of the options that have to do with basic waveform editing in the Edit View mode. check out the Undo item on the Edit menu to jog your memory. as long as the Undo function is turned on (see Enable Undo/Redo below). Undo and Redo have been disabled. It’s also possible that the time required to save the Undo information of very large audio files can slow your work down. this menu item says Can’t Undo or Undo Disabled instead. For instance. In either case. (Actually. Undo Delete or Undo Normalize. if available. This gives you the freedom to “experiment” or make mistakes. the number is only limited by the amount of free hard disk space). an unlimited number of undos can be retained. whether you want to undo the action or not. If you forget which editing action you last performed on a waveform. the problem can be solved by turning off the Undo function – if you don’t mind working without a “safety net”. When working with very large audio files. . All changes are automatically saved as one or more files in your temporary folder as long as the waveform is open in Adobe Audition – even after it’s been saved to disk. Enable Undo/Redo Highlight and click Enable Undo/Redo to toggle its status. Adobe Audition conveniently tells you which action you’re undoing. or Undo has been disabled. this menu item might say. it’s possible that you might not have enough free disk space to save the Undo information before continuing on with an edit. you can change the Temp folder to a different drive. If the Undo function is enabled in the Systems tab of Options > Settings. If you don’t see a checkmark. If a checkmark appears next to this menu item. Change the path in the Temp Folder field so that it points to another drive and folder. Undo can be turned off three ways: 1 On the System tab of Adobe Audition’s Settings window (Options > Settings) 2 By removing the check mark from the Edit > Enable Undo/Redo menu item 3 By pressing the Skip button in the Saving Undo Data dialog while Undo information is being saved. If you haven’t yet edited a waveform. About Undo Adobe Audition’s Undo information is stored as a temporary file on your hard drive. knowing that Adobe Audition’s Undo function is there to cover your backside when you want to revert back to the last edit you performed. If you find that you don’t have enough disk space to save the Undo information.

. or it replaces the currently highlighted data. use one of Adobe Audition’s internal clipboards.) Set Current Clipboard Menu Copy This command copies the current waveform. The new file automatically inherits the properties (sample rate. to the active clipboard (see Set Current Clipboard). but there are a few exceptions (such as Delete). choose Windows to have Adobe Audition use the Windows clipboard. Most editing functions in Adobe Audition can be repeated using this command. Each works similarly to the Windows clipboard.62 CHAPTER 6 Edit Menu – Edit View Repeat Last Command Just as you’d expect. If the format of the waveform data on the clipboard is different from the format of the file it’s being pasted into. or highlighted part of the waveform. this item repeats the last command. Set Current Clipboard Adobe Audition gives you access to five internal clipboards for temporary data storage.) from the original clipboard material. (You’ll want to use the latter option if you want to copy audio data to other Windows applications. Use this command to decide which of Adobe Audition’s five available internal clipboards is active – just check the one you wish to use. Otherwise. sample frequency. Note: Keep in mind that if you want to copy audio to another Windows application. Or. the current clipboard must be set to Windows. or highlighted part of the waveform. to the active clipboard. Paste Paste inserts data from the active clipboard at the insertion point. etc. Cut Use Cut to remove the current waveform. Paste to New This command creates a new file and inserts waveform data from the active clipboard. except without the memory limitations. Adobe Audition automatically converts it before pasting. which are faster and can handle more data.

the other moves simultaneously to that same level. Insert Choose this radio button if you wish to insert waveform data from the active clipboard at the current location or selection. If no selection has been made. If the clipboard audio is longer than the current waveform. Paste in single channels (either left or right) by adjusting the level of the opposite channel to zero. moving any existing data to the end of the inserted material. Adobe Audition inserts clipboard audio at the cursor location. both volume sliders are locked so that when one is moved to a certain level. Overlap When Overlap is selected. (Any samples above the center line will be placed below the line. Invert Check the desired Invert box to physically turn that channel of the waveform upside-down. Should the format of the waveform data on the clipboard differ from the format of the file it’s being pasted into. the current waveform is automatically lengthened to accommodate the pasted audio.) This function comes in handy when you want to take the difference (or subtract one signal from another) between two samples. Adobe Audition automatically converts it before pasting. Lock Left/Right When this box is checked. replacing any selected data. and those below will come out above the line. Or. you can type in a value (represented in percentage) in the fields to the right of the volume sliders. The major components of the Mix Paste window are as follows: Volume Move the volume sliders to adjust the sound level of the left and right channels of the audio in the clipboard before pasting.ADOBE AUDITION 63 User Guide Mix Paste Use Mix Paste to mix any audio data from the active clipboard with the currently shown waveform. (You might think of it as a “quick and dirty” alternative to Adobe Audition’s more powerful and flexible multitrack functions. . the clipboard audio is mixed at the selected volume level with the current waveform.) Mix Paste Dialog Clipboard data is inserted or overlapped beginning at the current insertion point or selection.

pasting 5 seconds of material replaces the first 5 seconds after the cursor with the clipboard’s contents. From File Select this option and press the Select File… button to browse for an audio file to paste into the active waveform. Adobe Audition fades in the first n milliseconds and fades out the last n milliseconds of pasted data. This is similar to overlapping. instead of added. the current waveform. sample by sample. you can insert the montage into the Multitrack View. . Use this command if you use the Play List to assemble long montages that come out of a single file. Once you’re done. From Clipboard n Select From Clipboard n to paste audio directly from the active internal clipboard. Should the clipboard audio be longer than the current selection. If there’s no audio data in the Windows clipboard. Modulate Select this option to modulate the clipboard audio with the current waveform for an interesting effect. Insert in Multitrack This command takes the currently highlighted portion of a waveform and inserts it as a waveform block in Adobe Audition’s Multitrack View. the current selection is automatically lengthened accordingly. For instance.64 CHAPTER 6 Edit Menu – Edit View Replace This option pastes the contents of the active clipboard beginning at the cursor location. If there isn’t a highlighted segment. or highlighted part of the waveform. and then render the montage to a new single file. Use this option for smoother transitions to and from pasted audio. except that the values of the two waveforms are multiplied by each other. The Please Choose a Wave File window appears. which is similar to Adobe Audition’s Open dialog. Loop Paste When this box is checked. Insert Play List in Multitrack Use this command to take all the entries in the Adobe Audition Play List and insert them into the Multitrack View as its own item. Either way. and replaces the existing material thereafter for the duration of clipboard data. the audio data in the clipboard is pasted the number of times entered. the entire current waveform is inserted. is copied to the active clipboard and then automatically pasted into a new Wave Display window. Crossfade Check the Crossfade box and enter a value (in milliseconds) to apply a fade to the beginning and end of the clipboard data. Copy to New When this command is run. From Windows Clipboard Choose this option if you want to paste audio from the Windows clipboard. make desired changes. the inserted audio is placed in the next available track at the beginning of the window’s timeline. this selection is disabled.

the value may be much higher (such as –30 dB). It doesn’t make any difference if you can’t see the entire waveform on screen – the whole thing is highlighted. For noisier audio. if the value is too high (above 200 ms). Note: For very quiet. . static. Delete Selection This command removes the highlighted portion of the waveform. It’s ideal for cleaning up voice prompts and speeding up narratives without affecting the foreground audio. You may also select the entire wave by double left-clicking within the Wave Display window.ADOBE AUDITION 65 User Guide Select Entire Wave Choose this command to select the current waveform. Delete Silence Use this feature to have Adobe Audition automatically detect and remove silence between words or other audio. Delete Silence Dialog Here are the major components of the Delete Silence window: “Silence” is defined as Enter the amplitude value (in decibels) you wish Adobe Audition to consider as the maximum level for Silence in the Signal is below box. The duration (in milliseconds) of this maximum amplitude value should be entered in the For more than box. Use higher values for the second box to ignore short periods of undesired audio (like clicks. “Audio” is defined as Enter the amplitude value (in decibels) you wish Adobe Audition to consider as the minimum level for Audio in the Signal is above box. for example. the dB value will be lower (like –60 dB). or by File > Revert to Saved if you haven’t saved the file since deleting. However. The duration (in milliseconds) of this minimum amplitude value should be entered in the For more than box. or other noise). high-quality audio. Use higher values in the second box to keep groups of words together. short words may be skipped. Note: Deleted data doesn’t go to the clipboard and can only be retrieved using the Edit > Undo command.

Removal of too much silence leads to an artificial sound. you can use Delete Silence to make the silence duration between all four cuts exactly 3 seconds.2 seconds. Mark Deletions in Cue List Check this box to have each location where silence is removed added to Adobe Audition’s Cue List. Scan for Silence Now Press this button to pre-perform the silence deletion. words or phrases are being chopped off – try lowering the signal level values. Increase the signal level values if not enough silence is being removed. a setting of 150 ms or so will leave a more realistic. When shortening speech segments. enough silence is removed so that there’s exactly this length of silence left. This gives you an idea of what to expect using the current settings when you actually commit to the Delete Silence command. Setting this value to zero will remove as much silence as possible. • If a silent region of less than this length is found. it’s not removed. suggested values are automatically placed in the appropriate boxes. Note: Remember that the deleted portion(s) aren’t copied to the clipboard and can only be retrieved using the Edit > Undo command. the difference between cuts 2 and 3 is 4. Everything in the waveform is removed except for the highlighted selection.7 seconds. Trim is the exact opposite of the Delete Selection command. For instance. if the difference between cuts 1 and 2 is 3. After completing the scan.1 seconds. as well as how many sections of silence were found. natural-sounding pause where the larger region of silence was found. use Edit > Delete Silence to make sure the duration of silence between each cut is the same. or by File > Revert to Saved if you haven’t saved the file since trimming.66 CHAPTER 6 Edit Menu – Edit View Find Levels Press this button to scan the waveform (or a highlighted section) to have Adobe Audition automatically determine a good starting point for signal levels. Trim Use Trim to get rid of unwanted audio (like silence) on one or both sides of the selected audio. Limit Continuous Silence to Enter a value (in milliseconds) in this box to set a minimum amount of silence to keep at all times. it reports how much silence will be removed. If you have an audio presentation that consists of many cuts separated by silence (such as a reel of several jingles). • If a silent region of more than this length is detected. Zero Crossings This command adjusts the starting and ending points of the current selection to the nearest place where the waveform crosses the center line (zero amplitude point). . If these values aren’t doing the job – say. and the difference between cuts 3 and 4 is 3. Instead of actually deleting. Essentially.

6 Press the Play Looped button in the Transport Controls to audition your loop. or insert a portion from the middle of the waveform. You might want to use this feature when you wish to delete a portion of a waveform. To use Zero Crossings: 1 Select the portion you want to delete (or position the cursor where you want to insert). . or add the loop to the Cue List. paste. If you don’t line up the amplitudes (at zero. 2 Select Edit > Find Beats > Find Next Beat (Left) to locate the beginning of the current beat. which often results in an audible pop or click. 2 Choose Edit > Zero Crossings and the appropriate submenu entry: • Adjust Selection Inward: Adjusts both region boundaries inward to the next available zero crossing • Adjust Selection Outward: Adjusts both region boundaries outward to the next available zero crossing • Adjust Left Side to Left: Adjusts the left region boundary leftward to the next available zero crossing • Adjust Left Side to Right: Adjusts the left region boundary rightward to the next available zero crossing • Adjust Right Side to Left: Adjusts the right region boundary leftward to the next available zero crossing • Adjust Right Side to Right: Adjusts the right region boundary rightward to the next available zero crossing Find Beats Use this function to have Adobe Audition locate the boundaries that make up musical beats in an existing music audio file. Note: If the waveform levels don’t match up at the loop point. in this case) on both sides of the selection. 3 Press Shift+[ until you arrive at the desired loop starting point. you may hear audible clicking as the loop repeats. To use Find Beats: 1 Place the play cursor in the Wave Display to the left of your targeted loop starting point. This lets you easily find the starting and ending loop points when you want to construct drum loops and similar musical phrases. 4 Choose Edit > Find Beats > Find Next Beat (Right) to select from the current cursor position (now the loop start) to the next beat. the end points drawn together when the highlighted selection is removed are at different amplitudes.ADOBE AUDITION 67 User Guide Having a selection start and end on a Zero Crossing is useful in deleting or inserting a selection in the middle of a waveform. you can revert to the original source file and use the Zero Crossings feature to match initial and ending levels. To adjust for this. 7 After any necessary tweaking. you can then save. 5 Press Shift+] until you arrive at the desired ending for your loop.

the dB value will be lower (like –60 dB). Use higher values for the second box to ignore short periods of undesired audio (like clicks. marking beats as Beat cues in the Cue List. Use higher values in the seconds box to keep groups of words together. if the value is too high (above 200 ms). However. the value may be much higher (such as –30 dB). After completing the scan. The duration (in milliseconds) of this maximum amplitude value should be entered in the For more than box. Auto-Cue Settings Dialog • Auto-Cue Settings: Choose this option to customize the way the Auto-Cue function works. words or phrases are being chopped off – try lowering the signal level values. marking non-silent regions as Basic cues in the Cue List. and automatically add them to the Cue List. The duration (in milliseconds) of this minimum amplitude value should be entered in the For more than box. first highlight the general region in which you wish to find phrases or beats. To use Auto-Cue. . If these values aren’t doing the job – say. Increase the signal level values if not enough silence is being removed. For noisier audio. high-quality audio. • Find Levels: Press this button to scan the waveform (or a highlighted section) to have Adobe Audition automatically determine a good starting point for signal levels. static. Note: For very quiet.68 CHAPTER 6 Edit Menu – Edit View Auto-Cue The Auto-Cue feature is used to define spoken/music phrases or beats. for example. or other noise). select Edit > AutoCue and the appropriate submenu choice from the following options: • Adjust Selection to Phrase: Selects a phrase within the highlighted region by adjusting the highlight inward. ignoring any silence before and after the audio. Nothing is added to the Cue List. • Audio will be considered as valid when: Enter the amplitude value (in decibels) you wish Adobe Audition to consider as the minimum level for Audio in the Signal is above box. • Find Beats and Mark: Scans the highlighted area. short words may be skipped. Here are the major compo- nents of the Auto-Cue Settings window: • Audio will be considered “silence” when: Enter the amplitude value (in decibels) you wish Adobe Audition to consider as the maximum level for Silence in the Signal is below box. • Find Phrases and Mark: Scans the highlighted area. Then. suggested values are automatically placed in the appropriate boxes.

Snap to Ruler (Fine) Select this option to allow the selected waveform to snap to each of the subdivisions (decimal. Trim Digital Silence will act as a normal Trim command. etc. SMPTE. Snapping In this case. samples.) Snap to Ruler (Coarse) This option allows the selected waveform to only snap to the major numeric divisions (decimal. . if you highlight the middle of a waveform. SMPTE. If you’re getting ready to master an audio CD. the term “snapping” means that whenever a waveform cursor is placed within a certain distance of a defined location point timeline or cue location point. Snap to Frames (Always) When Snap to Frames (Always) is chosen. using Group Waveform Normalize is a great way to make sure that all tracks on the CD have a consistent volume.ADOBE AUDITION 69 User Guide • Trim Digital Silence: This command removes pure digital silence from the beginning and ending of a file. Snapping settings may be easily accessed by right-clicking on the timeline. etc. Zooming in on the timeline – which is done by right-clicking and dragging within the timeline across the desired waveform area – will generally break the display down into more accurate subdivisions. Four options are available. Highlight and check one to select it. (See the View > Cue List section of this guide for information on how to define Cue points. that cursor automatically “jumps” or “snaps” to that precise boundary point. However. This option is especially handy for working on audio for CD. (Only one of the Snap to Ruler commands can be checked at a time. Snap to Zero Crossings Choose this option to have the waveform snap to the nearest place where the waveform crosses the center line (in other words. samples. all accessed from the Edit > Snapping submenu. the loudest part of the waveform is set to a specified amplitude. check Snap to Ruler (Fine). the zero amplitude point).) If the volume is raised as part of the normalization process. Adobe Audition can apply limiting to prevent clipping. This lets you place a waveform more accurately within the timeline. in addition to any digital silence in the highlighted region at the endpoints. thereby raising or lowering all other parts of the same waveform by the same amount. (When you normalize a waveform. which is described below.) Snap to Cues Use this option to allow a selected waveform to snap to a defined Cue point. Keep in mind that snapping only occurs if you’re close to the ruler tick. If you need more precise snapping. the selection or your cursor is always right on a frame boundary in whatever time format you’re in – as long as the time format selected is measured in frames (such as Compact Disc and SMPTE). Group Waveform Normalize Group Waveform Normalize allows you to normalize the volume of multiple open waveforms using a three-screen batch process. trimming out everything else.) in the timeline window.) within the timeline window.

. The Choose Files Tab of the Group Waveform Normalization Dialog 2 Analyze Loudness Tab The waveforms you’ve chosen to normalize appear in this list. Choose the ones you wish to normalize by using the Ctrl and Shift keys to select multiple non-contiguous and contiguous files respectively.70 CHAPTER 6 Edit Menu – Edit View 1 Choose Files Tab A list of all the currently open waveforms is shown. Press the Scan for Statistical Information button to have Adobe Audition analyze the current amplitude statistics for each listed waveform. (This is similar to the way you pick multiple files in Windows Explorer.) You can also just click and drag to highlight a group of waves.

You can select any subset of files and clear just those. Generally. This value isn’t used to normalize with because files can have more interesting dynamics that need to be accounted for. then actual clipping won’t occur. but instead the louder portions of audio will be limited to prevent actual clipping. If limiting is used. then this is the value that will be used to determine how much to amplify the audio to normalize it. This value will be used to determine how much to amplify the audio to normalize it if the Use Equal Loudness Curve is not checked in the final step. If Use Equal Loudness Curve is chosen in the final Normalize step. and uses the window width given in the Advanced section of the Normalize tab. Anything higher than this may result in audible artifacts in the louder portions of audio. Max This is the maximum RMS amplitude found. Avg This is the total average RMS of the entire file. . Loud This is the final loudness value without equal-loudness equalization. you don’t want this value to be more than 5%. This value is based on a full-scale sine-wave being 0dB. % Clip This is the percentage of the waveform that would be clipped when normalizing.ADOBE AUDITION 71 User Guide The Analyze Loudness Tab of the Group Waveform Normalization Dialog These statistics are shown: EQ-Loud This is the final loudness value with an equal-loudness equalization curve that takes into account frequencies the human ear is more or less sensitive to. The value used to determine the amount of normalization is either the Loud or Eq-Loud value. Reset Press this button to clear all of the normalization statistics for the files in the list. depending on if the Use Equal Loudness Curve box is checked in the Normalize tab.

or may go over 150% and be the same loudness. Checking the Equal Loudness Contour box will ensure that the audio has the same perceived loudness regardless of what frequencies are actually present in the sound file. which shows the relative amounts of audio at each loudness level. Use Equal Loudness Contour Check this box to have Adobe Audition use an equal loudness contour. The peaks may not go above 25%. Since the ear is less sensitive to very high and very low frequencies. where the middle frequencies are most important. The Normalize Tab of the Group Waveform Normalization Dialog Normalization You can normalize to an average level. will sound like they have differing volumes. or to a specific level. but RMS-based. • Normalize to a Level of lets you specify the normalization level (entered in decibels) for the whole batch of waveforms. and a Clipping Profile. but that contain different frequencies. two different pieces of audio with the same RMS amplitude. Note: Unlike Effects > Amplitude > Normalize.72 CHAPTER 6 Edit Menu – Edit View Double-click on any of the files in this list to see a more detailed account of statistics including: a complete RMS Histogram. . 3 Normalize Tab This is the area where you specify how you’d like to have Adobe Audition normalize the listed waveforms. • Normalize to Average Level of Source Files normalizes each file using the average level of all of them. and much more sensitive to those frequencies between 2 kHz and 4 kHz. which shows how much clipping will occur for each decibel of amplification. percentages aren’t used with the Group Waveform Normalization function because it’s not peak-based. You’d normally want to have this box checked.

it does let you hear what the current waveform would sound like at a different sample rate.) Advanced Here’s where you can modify the Statistics RMS Width. which means you could end up with clipped (distorted) audio. (The default is 12 ms. (The default is 200 ms. audio may just stay very quiet. The default is 50 ms. . Note: If this value is too long. However. no limiting will be performed. you can choose to just let it clip (and cause distortion) – or you can apply limiting to those areas so the audio doesn't actually clip (which is what’s commonly done for the audio of TV commercials so they sound louder). Make sure the value is at least 5 ms.) • Release Time: This is the time (measured in milliseconds) that it takes for the attenuation to rebound back 12dB (or roughly the time it would take audio to resume normal volume if an extremely loud peak was encountered). and will preserve very low bass frequencies. if needed. No Limiting (Clip) If this option is chosen. When amplifying audio. Generally around 100 ms (the default) works very well. Adjust Sample Rate Use this command to bring up the Adjust Sample Rate window. the audio samples may go beyond clipping. to keep out of band peaks from clipping. If this happens.ADOBE AUDITION 73 User Guide Out of Band Peaks These settings determine how Adobe Audition handles out of band peaks. which is measured in milliseconds. Run Normalize After adjusting the parameters to your preferences. Note: If this value is too small. Keep in mind that this command doesn’t let you actually convert the audio file – you’ll need to go to Edit > Convert Sample Type for that. Use Limiting Choose this option to have Adobe Audition’s Hard Limiter spring into action. It lets you play an audio file at any sample rate that is supported by your sound card. • Look Ahead Time: This is the amount of time (measured in milliseconds) that it will generally take to attenuate the audio before the loudest peak will be hit. audible distortion effects may be heard. press the Run Normalize button to close the Group Waveform Normalization dialog and perform normalization on all selected waveforms. and not resume normal levels for a while.

000 Hz Better than FM Radio Quality (standard broadcast rate) . channels.050 Hz Near FM Radio Quality (high-end multimedia) • 32. The most commonly encountered sample rates used for digital audio editing are: • 11. A mathematical conversion is used to generate a digital series of numbers that represent the signal level at that particular instant in time.025 Hz Poor AM Radio Quality/Speech (low-end multimedia) • 22. To see the capabilities of your system. your sound card may not be capable of playing it properly. check Options > Settings > Device Properties. how many frequencies can be encoded within the audio signal. and resolution may not be available on your system. About Sample Rates During the sampling process. measurable voltage level. a system’s sampling rate determines a system’s overall bandwidth – in other words. an incoming analog signal is sampled at discrete time intervals. Once the conversion has been made. You may enter any sample rate directly. At each interval. Sample Rate The sampling rate you choose determines the overall bandwidth (how many frequencies can be encoded within the audio signal). Higher sampling rates generally yield a better-quality waveform. while selecting a lower sample rate results in a lower-pitched sound (think “drunk Darth Vader”).74 CHAPTER 6 Edit Menu – Edit View Adjust Sample Rate Dialog Choosing a higher sample rate results in Adobe Audition playing back the file at higher pitch (think “chipmunks”). Since sampling is tied directly to the component of time. it can be digitally stored or processed. Higher sampling rates yield a wider bandwidth. Note that most sound cards support only certain sample rates. this analog signal is momentarily “held” for observation and thus represents a specific. Certain combinations of sample rate. or choose a common sample rate from the list. Although you can create and edit any sample type with Adobe Audition. The sampling rate is defined as the number of samples (or snapshots) that are taken of an audio signal per second.

100 Hz CD Quality • 48. The following are the major components of the Convert Sample Type: Sample Rate Conversion Presets Choose any saved presets that you’ve created from this drop-down list. letting you adjust the conversion process to suit your own particular needs.000 Hz DAT Quality • 96. . bit rate. Unlike Edit > Adjust Sample Rate.000 Hz DVD Quality Non-standard sample rates can be entered directly into the numeric sample rate window.ADOBE AUDITION 75 User Guide • 44. so that the audio retains the same pitch and duration as the original file. Changes in overall and relative L/R volume levels may be easily made when converting between mono and stereo formats. Resolution This setting is disabled in Adjust Sample Rate Convert Sample Type This function converts the sample rate. Convert Sample Type directly processes the samples within the file. Channels This setting is disabled in Adjust Sample Rate. or re-samples the data. Have a sample type that you convert to often? Use the Save As… button to add those settings to the Sample Rate Conversion Presets list. Convert Sample Type Dialog You can choose various levels of conversion quality. and channel format of an audio file that’s currently loaded in Adobe Audition into a new format type (such as 44 kHz/16-bit/stereo to 22 kHz/8-bit/mono). Press the Delete button to remove highlighted entries from the list. The Dither option allows you to reduce granulation noise when converting to lower bit rates. Various other options are available.

Usually values between 100 and 400 do a fine job for most conversion needs. When upsampling. When converting to a lower resolution. If you’re converting from Stereo to Mono. Enter any sample rate directly. a low-quality setting will sound almost identical to a high-quality setting. especially if the original recording was made or played back on a tape recorder with improperly aligned heads. Dither Use Dither to reduce noise and distortion to figures below their current levels through the addition of small amounts of white noise.76 CHAPTER 6 Edit Menu – Edit View Sample Rate The sampling rate you choose determines the overall bandwidth (how many frequencies can be encoded within the audio signal). You should use high-quality settings whenever you downsample from a high sample rate to a low rate. but results in certain high frequencies being “rolled-off ”. Keep in mind that most sound cards support only certain sample rates. try setting either the Left Mix or Right Mix to 100% and the opposite channel to 0%. the Dither options are enabled. you can place the mono source on the left channel only. When converting a stereo recording of monaural material (that is. this percentage controls the amount of signal from the respective channel that will be mixed into the final mono waveform. Higher values retain more high frequencies while still preventing aliasing of higher frequencies to lower ones. When converting from Mono to Stereo. Note: When converting to lower resolutions. This way. Channels Choose whether the new sample type will be Mono or Stereo by pushing the desired button. This often results in a cleaner sounding mono recording. To remove all or most of the lead vocals from many stereo music recordings.) . you can choose the relative amplitude (measured in percentage) with which the original mono signal will be placed into each side of the new stereo signal. During downsampling and upsampling. the exact same contents are on both channels) to a Mono waveform. Low/High Quality Use this slider to adjust the quality of the sampling conversion. or choose a common sample rate from the list. you should enable this option for best results. Higher sampling rates generally yield better-quality waveforms. so converting the signal so that it’s out-of-phase will often greatly reduce or eliminate the vocal track’s level. you can convert a stereo waveform to mono with a Left Mix of 100% and a Right Mix of -100%. Most vocal tracks are positioned in the middle of the stereo field inphase. but the conversion process takes longer. When you convert to Stereo from Mono or vice-versa. leading to muffled-sounding audio. Although a small amount of noise is introduced into the “circuit”. Pre/Post Filter In general. and 100% for both values when converting to Stereo. A lower quality setting requires less processing time. The most common mixing methods are to use 50% of both left and right channels when converting to Mono. the right channel only. the appropriate filter will help keep false frequencies from being generated at the low end of the audio spectrum. Resolution Use this control to choose the bit resolution to convert to. you’re given the option to adjust the mix of the left and right channels. the result is far preferable to the increased distortion that you would otherwise be listening to at low signal levels. or any balance point in between. dithering allows you to hear sounds that would otherwise be masked by the noise and distortion limits of 8-bit audio (or quieter than the 16-bit limit provides when converting from 32-bit.

the audible noise floor rises and falls depending on the amplitude of the signal. of course. Dither Depth (bits) This sets the bit amount of Dither to be applied. If modulation is present.5).7 give the best results without adding too much noise. uncheck the box to turn Dithering off. This means that bits that aren’t used are simply chopped off and discarded. or any value between -1 and +1). Whether or not dithering is used depends on the audio that’s being converted and. This gives a “crackly” effect that fades in and out on very quiet audio passages. Note.f.f. Shaped Triangular.2. and Shaped Gaussian. Gaussian.) p. The SNR Loss is measured against the undithered case.2 to 0.e.3.f. All dithering distribution functions can linearize the quantization noise. distortion. (You can usually get away with lower values for the Dither Depth when you use Noise Shaping. Adobe Audition truncates instead. Five p. however.5 or -0. because it gives the best tradeoff between SNR. You may also specify that no noise shaping is used. the likelihood of a value of -0. Noise Shaping Select one of the several noise shaping presets (known as “noise shaping curves”) to have Adobe Audition determine the placement when moving noise to different frequencies.. your preferences.ADOBE AUDITION 77 User Guide If Dither isn’t checked. but you can choose less noise to be placed at one frequency at the expense of placing more noise at another.f. Triangular. Generally. function is a wise choice.8dB 6dB Modulation Yes No Negligible No Negligible Usually a Triangular p. “choppy” sound that resembles falling rain or static.: The “probability distribution function” controls how the dithered noise is distributed away from the original audio sample value. Enable Dithering Check this box to activate Dithering. The Rectangular function means there’s an equal chance that the noise value added will lie anywhere between +1 and 1 (i.. meaning that the noise that’s heard doesn’t depend on the frequency of the dithered audio. p. the chance of 0 being chosen is twice as great as the chance of choosing 0.8dB 6dB 4.d. that as this value is lowered. The same amount of noise overall is present. so generally one doesn’t want this either.d. quiet audio passages will just fade in and out of a disruptive. . The Triangular function chooses random numbers that are generally closer to 0 than to the edges -1 or +1 (i. thus no harmonic distortion appears.8 being chosen is the same as that of 0. and noise modulation.d.e. Rectangular Triangular Gaussian Shaped Triangular Shaped Gaussian SNR Loss 3dB 4. values of 0. Note: If Dithering isn’t enabled.d. or 0. types are available from the drop-down list: Rectangular. other unwanted harmonic distortion noise will appear.

1 kHz or 48 kHz 44.1 kHz or 48 kHz 44.78 CHAPTER 6 Edit Menu – Edit View Note: Different curves result in different types of background noise.1 kHz or 48 kHz 44. there are no really good noise shaping curves for audio at 32kHz or lower. With audio at those sampling frequencies. Curve Noise Shaping A Noise Shaping B Noise Shaping C1 Noise Shaping C2 Noise Shaping C3 Noise Shaping D Noise Shaping E Noise Shaping E2 44. and just choose the one that sounds the best.1 kHz or 48 kHz 44. By introducing noise shaping. you may be able to get away with lower Dither depths to reduce the overall background noise level.1 kHz or 48 kHz 44. final sample rate.1 kHz or 48 kHz 44.1 kHz 48 kHz 96 kHz Note: In general. The type of curve to use depends on the source audio.1 kHz or 48 kHz 44. .1KHZ 48KHZ 96KHZ Sample Rate 44. without introducing a lot of unwanted harmonic noise. and bit resolution. feel free to try the different curves to see if they help at all.1 kHz or 48 kHz 44.

) Lower frequencies are displayed near the bottom of the display. where you can digitally mix up to 128 tracks to one or more sound cards. . Spectral View Spectral View is the other method Adobe Audition utilizes to represent waveform data. Show Organizer Window This command lets you see Adobe Audition’s Organizer Window. The greater a signal’s amplitude component within a specific frequency range. You can also use the F12 key to quickly switch between Multitrack and Edit View. and more. tabbed window allows you to easily open and close files. quickly send waveforms to the Multitrack Display. while higher frequencies are visualized from the middle-to-top part of the scale. The face of the View button represents the target View that the system will “jump to” when pressed. the brighter the displayed color will be. For many of the items. this button’s appearance changes to let you know that if you push the button. Spectral View makes it easy to view the frequency components to an audio file over time. Note: More information about the Organizer Window can be found in the “Looking at the Work Area” chapter. when you’re working in Edit View. This handy. while time is visualized horizontally. choose effects with ease.79 Chapter 7: View Menu – Edit View T he View Menu displays options that relate to changing the display or viewable area when you’re in the Edit View Mode. a checkmark is shown next to their menu entries to designate that they’re active. For example. This mode is handy for spotting which frequencies are most prevalent throughout the waveform. Data is shown as vertical spikes that represent relative volume. Multitrack View Access this command to go to Adobe Audition’s Multitrack View. Colors range from dark blue (which means that next to no amplitude components exist in this frequency range) to bright yellow (frequencies in this range are high in amplitude. Waveform View is the default. Waveform View Adobe Audition offers two ways to visualize waveform data. you’ll go to the Multitrack View. Pressing the leftmost button in the Edit View’s File toolbar takes you to Multitrack View mode.

• A range has both a start time and an end time (for example. you can even detach the Play List window and have it float above Adobe Audition’s main window. If a Cue is a range. To close the Cue List window when it’s floating. They may be thought of as virtual markers. which is a dockable window. This means you can reposition it at one of several places in the Adobe Audition interface. • A point refers to an exact cursor position within a waveform (for instance. or for assembling in Adobe Audition’s Play List. Or. click on the “X” control in its title bar. About Cues Cues are time offsets or locations defined within a waveform. you can drag its beginning and end points to different times. you can simply uncheck the Cue Play List item on the Edit menu to close it in either docking or floating mode.566 from the start of the wave). 1:08. To get rid of the Cue List window when it’s docked. all of the waveform from 1:08.566 to 3:07. Each type can be a point or a range. Cue List Dialog with Edit Cue Info Mode Active An unlimited number of cues may be defined and saved in the Cue List for later recall. Or. Adobe Audition has four types of Cues.80 CHAPTER 7 View Menu – Edit View Show Cue List The command opens the Cue List window. The upper part of the Wave Display showing the Cursor Handle and three Cue Handles .379). right-click on its grab bar and select Close from the pop-up menu.

the time between the track marker that begins a track and the first index in that track will show up on the player as “negative time”. Then add a cue. Insert CD Track Marker. three seconds from the beginning of the waveform) to the Cue List. (Some CD players offer controls for cueing indexes. all the audio from two seconds to five seconds. or Ctrl+F8 to add an Index cue. Insert CD Track Marker. left-click on the waveform at the exact place where you wish the cue to be. just highlight the range in the Wave Display and do one of the following: • Click on the Add button in the Cue List window.) Also. Shift+F8 (for a Track Cue). or Insert CD Index Marker. If you use the Find Beats and Mark part of the Auto-Cue feature (Edit > Auto-Cue). as measured from the first part of the waveform). but only if the Save extra non-audio information box is checked in Adobe Audition’s Save Waveform As dialog. The easiest way to make a range is to highlight a selection in the waveform. Note: Cues are preserved in the waveform when the file is saved. • Right-click on the Wave Display and choose Add to Cue List. • Right-click on the Cursor Handle (the triangle at the top and bottom of the Wave Display directly over and under the play cursor) and choose Insert in Cue List. but they’re specifically for marking musical beats. • Track: Track Cues are only used for burning CDs. Then. to remind yourself of an editing point). Indexes are markers within a CD track. They indicate a split in tracks for an audio compact disc. Adobe Audition will mark each beat with a Beat Cue. They’re also used to specify stop and start positions for the Adobe Audition’s Play List. • Beat: Beat Cues are just like Basic Cues. • Right-click on the Cursor Handle (the triangle at the top and bottom of the Wave Display directly over and under the play cursor) and choose Insert in Cue List. although it doesn’t really make sense for indexes to be ranges. or Insert CD Index Marker.ADOBE AUDITION 81 User Guide Here are the four cue types: • Basic: Basic Cues are used to mark important sections of the waveform for later reference (for example. . either through the Cue List or by pushing F8 (for a Basic Cue). Shift+F8 to add a Track cue. All four Cue types can be ranges as well as points. • Press F8 to add a Basic cue. Shift+F8 to add a Track cue. To add a specified range (for instance. or Ctrl+F8 (for an Index Cue). Cue Handle Context Menu Right-click on a Cue Handle (a Cue-named triangle at the top and bottom of the Wave Display) to display the Cue Handle context menu. • Press F8 to add a Basic cue. Creating Cues and Ranges To add a specific point in a waveform (say. • Index: Index Cues are also just used for CD burning. do one of the following: • Click on the Add button in the Cue List window. • Right-click on the Wave Display and choose Add to Cue List. or Ctrl+F8 to add an Index cue.

Edit Cue Info Button When you press this button. a left-click on the Length column header will place all of the items in the Cue List from shortest to longest. End. Length (the cue's length). one yellow and one blue. etc.). this command turns it into a range cue. makes it the active window. or Index. End (the cue’s ending time). • Make Point: If the Cue is a range cue. • Delete: This command deletes the Cue. Beat. Left-click on the desired field to make it active.82 CHAPTER 7 View Menu – Edit View The Cue Handle context menu The Cue Handle context menu has these commands: • Go To Cue List: Accessing this command displays the Cue List. Label (the cue's name). To deactivate the automatic play mode. the cue will automatically play whenever the cue is selected in the Cue List. The Cue Handle is split into two handles. You may also select and slide a column header horizontally to rearrange the sequence of column headers. • Make Range: If the Cue is already a point cue. or Ctrl+F8 to add an Index cue to the Cue List. • Change Cue Type: Use this entry and its submenu to change a Cue from one type to another. fields used to modify the information in the highlighted cue appear: Begin (the cue’s starting time). removing it from both the Cue List and the Wave Display. this command turns it into a point Cue. and Desc (the cue’s description). Auto-Play If the Auto-Play button is depressed. It behaves similarly to the column bar in a Windows Explorer window. or if the Cue List is already displayed. . click on the Auto-Play button to release it. you can click on a column header to sort the data in that column. Begin. For instance. Here are the major components of the Cue List window: Column Bar The column bar runs along the top of the Cue List window. and then type in the new time or name. Track. with the start time of the range becoming the time for the point Cue. Note: Adobe Audition automatically makes the second point of a cue range the end. Add Press this button to add a Basic cue – either an exact point or a specified range – to the Cue List. Along with telling you the type of data in each column (Label. Drag either or both to set the beginning and ending times of the range. press the Edit Cue Info button once more. To hide the cue info fields. The two parts of the range Cue Handles are merged into a point Cue Handle. Shift+F8 to add a Track cue. even if you move the ranges around. You can also press F8 to add a Basic cue. A checkmark designates the current Cue type. You can also use the drop-down list to pick the type of cue: Basic.

or hold down the Ctrl key as you click to select and highlight multiple non-contiguous files. The Cue List’s Batch Process Phrases Dialog Note: At least one of the cues must be a cue range in order for the Batch button to be active. Batch If one or more Cue List range entries are highlighted.) as well as the correct extension based upon the output format you’ve chosen. Keep in mind that you’re limited to merging just two ranges. phrase03. Adobe Audition automatically adds numbers after the prefix (phrase02. Merge Click on the Merge button to combine highlighted entries in the Cue List into a single. Filename Prefix Enter the desired Filename Prefix (such as “phrase”) in the field provided. but there are no limitations on the number of cue points you can measure. pressing this button brings up the Batch Process Phrases dialog. Press the OK button to initiate the silence-adding process. Just as in a Windows Explorer window. Note: The new merged item inherits the name from the earliest item chosen. . Save to Files Use this option if you’d like to split the audio between cue points in the active waveform to new files. Here are the components of the Batch Process Phrases dialog: Set Amount Of Silence Select this item to add silence between cue points in the currently shown waveform.ADOBE AUDITION 83 User Guide Del This button deletes all of the highlighted items in the Cue List. Fill in the desired values (measured in seconds) in the Add silence before: and Add silence after: fields. etc. you can depress your Shift key as you click to select and highlight multiple contiguous files. or depress the Ctrl key as you click to select and highlight multiple non-contiguous files. You lose the information entered in the Label and Desc fields for the subsequent merged items. Hold down your Shift key as you click to select and highlight multiple contiguous files. combined cue that spans the earliest and latest locations in the two cues.

To close the Play List window when it’s floating. click on the “X” control in its title bar. Play begins at the currently highlighted item in the Play List and goes to [End]. If the selected format has options. the Options… button will be enabled. looping selections if specified. Note: The cues must be cue ranges. . Remove Click on this button to remove the selected Play List item. Show Play List Select this item to display Adobe Audition’s Play List window. Output Format Use this drop-down control to select the desired output format.84 CHAPTER 7 View Menu – Edit View Destination Folder This is the folder where Adobe Audition will place your new “split” files. for this to work. enter the number of times you wish the selected Play List item to loop (play again). Loops In this field. allowing you to reposition it at one of several places in the Adobe Audition interface. Press the Browse… button to open the Choose Destination Folder window. Here are the major components of the Play List window: Show Cue List Click on this button to display Adobe Audition’s Cue List window. The Play List can include an unlimited number of entries. The selection is inserted before the currently highlighted Play List item. To get rid of the Play List window when it’s docked. Insert Cue(s) Press this button to add the currently highlighted selection(s) from the Cue List to the Play List. During playback the Play button turns into a Stop button. allowing you to select them. The Play List is an arrangement of Cue List entries that you can play back in any order and loop a specified number of times. you can simply uncheck the Show Play List item on the Edit menu to close it in either docking or floating mode. Play List Dialog The Play List window is a dockable window. The Show Cue List button is then replaced by the Insert Cue(s) button. Or. you can detach the Play List window and have it float above Adobe Audition’s main window. Or. Each item in the Play List can loop a different number of times. Play Pressing this button plays the cue ranges in the order listed. or at the end. right-click on its grab bar and select Close from the pop-up menu. if nothing is selected. not just cue points.

Show Level Meters Click on this option to display Adobe Audition’s Level Meters. The default display value is mm:ss:ddd (minutes:seconds:thousandths of a second). (“Sel” is an abbreviation for Selection. Note: More information on the Sel/View Controls window (which is dockable) is in the “Looking at the Work Area” chapter. Show Transport Buttons Check this item to display Adobe Audition’s Transport Buttons. This dockable window displays the current position of the playback cursor. and fast forward the active waveform or session. as well as the total length of both the selection and the section of the waveform that’s currently viewed. . Show Time Window Select this item to show Adobe Audition’s Time Window.) This window shows the beginning and ending points. such as Compact Disc. These meters display both record and playback levels. Bars and Beats. the Sel/View Controls window is displayed. and stops on the next item in the Play List. Show Sel/View Controls When checked. Move Down Click on this button to move the highlighted item in the Play List down one position. allowing you to reposition it at one of several places in the Adobe Audition interface. or one of several SMPTE values. Show Zoom Buttons Select this item to display Adobe Audition’s Zoom Buttons. but this can easily be changed by right-clicking on the Time Window and choosing another option. The selection and display range are each shown using the current time display format. Move Up Push this button to move the highlighted item in the Play List up one position. The Transport Buttons window is dockable. The Zoom Buttons window is a dockable window. which appear by default near the bottom of both Adobe Audition’s Edit View and Multitrack View windows. Note: More information on the Time Window can be found in the “Looking at the Work Area” chapter.ADOBE AUDITION 85 User Guide Autocue This control plays the currently highlighted item in the Play List (or the first item if nothing is highlighted). Note: More information on the Zoom Buttons can be found in the “Looking at the Work Area” chapter. stop. The Level Meters window is dockable. Samples. which are used to play. rewind. the next item in the Play List will be played every time Autocue is pressed. pause. Note: More information on the Transport Buttons can be found in the “Looking at the Work Area” chapter. Thus.

In addition.97 fps) This display type numerically indicates time in the SMPTE Drop format of 29. especially for windows that are only useful when viewed in a certain aspect ratio. Decimal (mm:ss:ddd) This display type numerically indicates time in an mm:ss:ddd (minutes. and Custom time code frame rates. which is described below. Compact Disc 75 fps This time format used is the same one utilized by audio compact discs. different versions of SMPTE. dockable window called a “placekeeper”. Selectively cycle through the available time formats by double-clicking on the waveform ruler. etc. Bars and Beats This displays time in a musical measures format of bar:beat:ticks per beat. including Decimal. decimal) format. SMPTE 25 fps (EBU) Time is displayed using the standard European frame rate standard of 25 frames per second. Display Time Format The Display Time Format menu lets you choose between several time display readouts. Show a Placekeeper Select Show a Placekeeper to create a blank.86 CHAPTER 7 View Menu – Edit View Note: More information on the Level Meters can be found in the “Looking at the Work Area” chapter. Custom (XX frames/sec) This option will default to the time code setting that was last selected in View > Display Time > Define Custom Frames… For example. SMPTE Drop (29.97 Use this option to display time in the SMPTE Non-Drop format of 29. Note: More information on Placekeepers can be found in the “Looking at the Work Area” chapter. Adobe Audition will then use the format chosen here when referencing time: the Time Window. SMPTE 29. . right-clicking on the horizontal time waveform ruler or the main time display will pop-up a window that allows you to select between formats. tempo. where 24 frames equal one second. Status Bar. and other properties in the Edit Tempo… dialog. Samples. Use it to more accurately define where you want a dockable window to be. Bars and Beats. this option would show as “Custom (15 frames/sec)”. Samples This display type indicates time numerically using the actual number of samples that have passed since the beginning of the edited file as a reference. where each second equals 75 frames. SMPTE 30 fps Time is displayed in the SMPTE format where 30 frames equal one second. seconds. if a custom time code setting of 15 frames-per-second was chosen in a previous session.97 frames-per- second. SMPTE 24 fps (Film) Use this SMPTE time format when working with film. the x-axis (time) ruler. You can adjust the number of ticks per beat.97 frames-per-second. time status boxes. Compact Disc.

For instance. etc. according to the Bars and Beats time format. Edit Tempo Dialog Here are the major components of the Edit Tempo window: • Extract from Selection: The number entered in the Bars Highlighted field specifies the number of bars highlighted in a selection. If this number is incorrect (which it probably will be if you haven’t yet defined the tempo). Song Start is the number of milliseconds into the file before the measure 1:1.). Modifying the Current Beat At figure updates the Song Start value based on the current tempo settings. Also. Use this function to calculate the tempo or BPM (Beats Per Minute) value based on the currently highlighted selection. Adobe Audition assumes that this is a downbeat.ADOBE AUDITION 87 User Guide Edit Tempo This command brings up the Edit Tempo window. you can enter the correct value here to be used in extracting tempo information. 3 for 3/4. if no selection is made). in common time. then a time setting of 4:2. • Offset: The information in the Current Beat At field is the bar/beat information for the left edge of the selection (or the current cursor point.00 begins. This number is usually the top number in the musical piece’s time signature. Press the Reset 1:1 to Cursor button to change the value in the Current Beat At field to 1:1. displays the number of beats that occur over a 1 minute interval. You can change the actual bar and beat number for the left edge of the selection (or the current cursor point). If you use 32 ticks for each beat. • Tempo • Beats per Minute. A push of the Extract button will then calculate the tempo and fill in the Beats per Minute and the Offset values. You can set Ticks per Beat to any value from 2 to 3600. and enter the number of known highlighted bars. When extracting from a selection. .00. You cannot edit this value.16 would be the eighth note (half way) between beats 2 and 3. • Ticks per Beat reflects the number of sections each beat is divided into. Adobe Audition uses the BPM value in displaying ruler information for the Bars and Beats time format. 6 for 6/8 time. or 3 for 3/4 time. or the value displayed after the decimal point. • Extract: Use this button to extract tempo information from the highlighted selection. enter 4 for 4/4 time. Calculate this value by using the Extract button. Make sure you first correctly fill the Beats per Bar field below (4 for 4/4 music. any settings that follow the base time format will work in Bars and Beats mode as well (like Viewing Range). as you’d expect. • Use the Beats per Bar field to assign the number of beats that form one measure.

Sample Values This display type numerically indicates amplitude as the data’s exact sample value of the data. where you may enter a new value (measured in frames/second) in the Custom Time Code Display field. If no items are checked.88 CHAPTER 7 View Menu – Edit View • Define Custom Frames: Clicking on this option brings up the Adobe Audition Settings screen open to the General tab. Decibels This display type numerically indicates amplitude using a dB scale value that ranges from -Infinity to Zero. if any. the toolbar area will disappear until you check at least one icon group. the vertical scale is always in Hertz (Hz). Checkmark the desired icon group(s) to display. In addition. including Sample Values. Normalized Values. and Decibels. As with the Display Time Format. groups of icons you’d like to display on Adobe Audition’s Edit View toolbar. Note: When the wave display is set to Spectral View. Percentage. Percentage This display type numerically indicates amplitude on a percentage scale value that ranges from -100% to 100%. Normalized Values This display type numerically indicates amplitude on a normalized scale value that ranges from -1 to 1. right-clicking on the vertical scale waveform ruler displays a pop-up window that will let you select between formats. Toolbars Use this menu to specify which. or you can selectively cycle through the available time formats by double left-clicking on the vertical scale waveform ruler. Note: All of the displays can go to greater values for 32-bit audio if the audio goes above 0dB. Choose View > Display Scale Format from the menu. Toolbars Menu . there are several ways you can change this format. Vertical Scale Format This menu lets you choose between several vertical scale formats for use in the y-axis vertical) ruler.

Status Bar Access the items on the Status Bar submenu to turn on Adobe Audition’s status bar – which runs along the bottom of the Adobe Audition window – as well as decide which information fields you wish displayed there. Or. Text Fields Tab Adobe Audition allows you to embed text-based data in Windows . Note: Make sure the Save extra non-audio information box is saved in Adobe Audition’s Save Waveform As box in order for this additional data to be embedded in your waveforms. this information remains with your audio file throughout its lifetime.wav files that use the RIFF LIST INFO and DISP type 1 formats. Note: More information on the Status Bar can be found in the “Looking at the Work Area” chapter. Provided that other audio editors support this information. specify certain parameters. To hide the Status Bar. as well as standard ID3 tag information in . Wave Properties Dialog . You can also find this menu by right-clicking on the status bar. two rows. and get information about the active waveform.ADOBE AUDITION 89 User Guide Options are also provided to limit how many rows of toolbar icons Adobe Audition displays at any one time: one row. Wave Properties Access this command to bring up a tabbed window that lets you embed text and graphics.Text Fields tab . uncheck the Show from the View > Status Bar submenu item.mp3 files. right-click on it and select the Hide menu option. or three rows.

• Software Package: The name of the software used to digitize and edit this file (such as Adobe Audition) goes here. the text. Keyboard. Concert. Example: (c)2001 G. If you don’t want this extra information to be tagged with your wave files. using “0” as a place holder in single-digit values. Radio Industry. you could put in Country. or even your name. Please separate names by a semicolon and a space. • Genre: Specify the musical classification of the sound. Rock. George Jetson. • Creation Date: This field should contain the date that the subject matter was created. or a microphone.90 CHAPTER 7 View Menu – Edit View Use the Text Field Names drop-down list to choose which field format you’d like Adobe Audition to display in the Text Field window: Standard RIFF. If you select Standard RIFF. if recorded live. For example: Guitar. You might want to describe the sound card used here as well. Trumpet. New Age. if the date the original recording was made was June 8. Vocal… • Engineers: This field is used to store the name(s) of the engineer(s) who worked on the file. • Source Supplier: In this field. such as a cassette deck. Examples include Epic Records or. Key words should be separated by a semicolon followed by a space. Examples are: The Rolling Stones. don’t hit the Enter key after completing a line). the name of the artist. • Original Artist: Enter the name of the one who created the sound initially. Eric Clapton… • Digitization Source: Enter where the sound was digitized from. but end each sentence with a period. then it needs to be written as: 2001-06-08. these fields are available: • Display Title: This should describe the sound. so that the editing history can be tracked. When someone new edits the file. they can add their name to the list. • Copyright: Any copyright information for this file should go here. The date should be in the format yyyy-mm-dd (year-month-day). Willikers Corporation. For instance. Classic Rock. or edited the file. or Jazz. • Name: The title of the waveform goes here. • Comments: This area is for making any comments you wish. You can use this space for the names of record companies or whoever supplied you with the source.. enter the name of the person or organization that supplied the original source material. For example. or if there are words in the waveform. Ted added reverb effects and noise reduction using Adobe Audition and it’s ready to be mastered. an LP. Feel free to include any special effects or enhancements you made to any preexisting waves. simply un-check this box. since it will be displayed in OLE objects and the like.e. a CD. or MP3 (ID3 Tag). • Key Words: If you plan to organize waveforms in software that supports searching off the Key Words field. • Original Medium: Describe where the sound came from originally. • Digitizer: Who did the actual digitizing? They should put their name right here. then you’ll want to include key words here. the Software Package and Creation Date fields are automatically filled by Adobe Audition. Examples: Live Band. • Fill * Fields Automatically: If the Fill * Fields Automatically box is checked. This field should be as short as possible. 2001. Don’t use line returns (i. Voice.” . Sample entry: “It took 3 hours to get this recording right. All rights reserved. such as Ann Wilson.

“Vicki Voiceover”. “sale starts tomorrow”. The date should be in the format yyyy-mm-dd (year-month-day). “Auto Dealer”. • Account Executive: The name of the salesperson in charge of the advertiser’s account goes here. the “trip tone”) appears. or “(music up and cold)”. For example. and are created by pressing Ctrl+J. Examples include.a. etc. “Financial Institution”. • Outcue: A description of the ending (such as the last few words) of the production piece goes here. and “Stager”. Sometimes copyright information is placed here as well. • Advertiser: Place the name of the sponsor in the field. If you don’t want this extra information to be tagged with your wave files. They include: • Description: This is where you enter the name of the production. Examples include “First National Bank” or “In House Promo”. . such as “Joe’s Chevrolet March Madness Sale” or “Kiss-FM Legal ID”. • Fill * Fields Automatically: If the Fill * Fields Automatically box is checked. • Talent: Enter the name of the person(s) who voiced this audio production. called the chiba. It might be “member FDIC”. type in the date the audio production is scheduled to begin airing. • Sec Tone (ms/end): Enter the time. “Promo”. measured in milliseconds from the ending of the audio file. such as “Joe Jock”. • Start Date: In this field. measured in milliseconds from the beginning of the audio file. simply un-check this box. or “Bill Baritone & Susan Soprano”. then it needs to be written as: 2001-06-08. where the secondary tone (a. • End Date: This is where you enter the date the audio production is supposed to end its run. • Creation Date: This field should contain the date that the subject matter was created. Feel free to include a description of the instruments used. using “0” as a place holder in single-digit values. the Creation Date fields is automatically filled by Adobe Audition. • Intro Time (ms/begin): The production piece’s introduction time.) • Producer: Who produced this piece of audio? The name of the producer goes here. where someone can find the song recorded. • Category: This field is for the category this audio production belongs in. (This tone is used to automatically start the next audio element when used in an automation system.” If you select Radio Industry. goes here.<Ctrl+J><Ctrl+J>The shakuhachi was developed in the 15th century from a Chinese end-blown flute.k. • Agency: Here’s where you enter the name of the advertising agency or production house. if the date the original recording was made was June 8. Line returns are OK. 2001. For instance: “The shakuhachi of Japan. the fields in the Text Fields change to accommodate information for commercials and other types of audio files used by radio broadcasters.ADOBE AUDITION 91 User Guide • Subject: Use this field to describe the contents of the file.

allowing you to tag the loaded MP3 file with ID3v1. Feel free to include the name of any music. while the doorbell SFX came from Sound Effects Library Disc 3. Sample entry: “Music came from Music Library Disc 17. • Fill * Fields Automatically: When this box is checked. If the file is inserted into Adobe Audition’s Multitrack view. • Year: The year (up to 4 digits) the song was recorded or released goes here. so that the editing history can be tracked. • Artist: Enter the name(s) of the performer(s) here.92 CHAPTER 7 View Menu – Edit View • Comments: This area is for making any comments you wish. Don’t use line returns (i. Compression and reverb were added using Adobe Audition.e.. it will automatically have looping turned on for that block. don’t hit the Enter key after completing a line). Selecting the MP3 (ID3 Tag) item from the Text Field drop-down menu activates these text fields. Loop Info Tab Wave Properties Dialog – Loop Info tab Source Waveform Information Loop Select this option to tell Adobe Audition that the file is a loop. or use Ctrl+V to paste in text from a Windows-based program such as a word processor or text editor via the Windows clipboard. • Genre: Select the musical category from the drop-down list of dozens of alphabetically-sorted choices. cut 3. but end each sentence with a period. This title can have up to 30 characters. up to 30 characters. type in the number (up to two characters) of the track in this field. sound effects.” • Copy: Enter the copy for the production here. up to 30 characters. • Album Name: The title of the album is typed into this field. • Comments: Enter any general text about the recording here. You can type in the copy directly.1-compatible data: • Song Title: The title of the musical composition (up to 30 characters) goes in this field. the current year is automatically entered into the Year field. • Track Number: If the recording came from an album. . or enhancements you made to any preexisting waves. cut 57.

• Select the Time-Scale Stretch option to stretch the file (just like Adobe Audition’s Stretch effect) to match the tempo of the session. Options are provided for Quality (High. Frame Size (the number of splices per beat). you may elect to use them. the Auto-Find beats option will be selected. you can change them in the fields provided. This only works on loops that have very sharp (short duration) sounds. and the percentage of Frame Overlapping. Key Use this drop-down menu to enter the waveform’s key. High. If the default values of 10dB and 9 milliseconds aren’t satisfactory. Enter this figure directly. the pitch will be affected. the BPM (Beats Per Minute) is automatically calculated and entered into the Tempo box below. Number of Beats Enter the waveform’s number of beats in this field. When you do so. • Resample will cause Adobe Audition to resample the loop to match the session’s tempo. the Tempo value is automatically calculated. and as such. Originator Enter the name of the audio file’s producer (up to 32 characters) in this field. Don’t know the key? Press the Find Nearest button and Adobe Audition will scan the waveform to locate the closest match. . If the waveform already has beat markers. Tempo This is the number of beats per minute in the waveform. • The Beat Splice option actually tries to cut up the file at the beats to loop the file that way.ADOBE AUDITION 93 User Guide One Shot Choose this option if the file isn’t a loop. Medium. EBU Extensions Tab Wave Properties Dialog – EBU Extensions tab Description Up to 256 characters may be entered in this field to describe the audio file. Otherwise. Four options are provided: • If the Fixed Length option is chosen. the file won’t be stretched to match tempo. like drums. This will cause the waveform to match pitch with a session that has a key specified when inserted into Adobe Audition’s Multitrack View. Medium. or Low). Tempo Matching Stretch Method Tempo matching determines how (if at all) the loop will stretch to match the session’s tempo. and Low Quality options are available. or when you fill in the Number of Beats field above.

if the date the original recording was made was June 8. you’re welcome to enter a processing history (or any other text-based information) here manually. this information should stay with your audio file through its lifetime. calculated since 12:00 a.94 CHAPTER 7 View Menu – Edit View Originator Reference You can enter up to 32 characters of reference information here about the producer. Here are the major components of the Sampler window: Target Manufacturer ID You can’t edit this information. Time Reference (since midnight) This field contains the time code of the audio file. Sampler Tab Wave Properties Dialog – Sampler tab Technical information relating to other devices. or programs (such as synthesizer uploading and downloading software) can be directly imbedded within your . Coding History This field is used to contain a description of all coding processes applied to the waveform. then it needs to be written as: 2001-06-08. The format is hour:minutes:seconds.wav files using the View > Wave Properties > Sampler information window. Select from “hh:mm:ss. . Origination Date (yyyy-mm-dd) This field should contain the date that the subject matter was created. Origination Time (hh:mm:ss) The time the audio file was produced goes in this field. For example.m. Adobe Audition doesn’t automatically add any information in this field. The date should be in the year-month-day format. but this field will show a proper value if a sampler has written a . using “0” as a place holder in single-digit values. However. As with the information in the View > Wave Properties > Text Fields window.m. systems.ddd” (hour:minutes:seconds:thousandths of seconds) or samples options. is 22).wav file with this sampler information chunk present.e.. with the hour represented in 24-hour (0 to 23) “military time” format (i. 2001. 10 p.

the center of the entire waveform is used to gain the current note. Find using Analysis Press this button to have Adobe Audition analyze the audio file to automatically determine the Note and Fine Tune values. or back and forth and back again. Enter the number of cents above the Note that the tone actually is. Samplers can usually play loops forward. . The audio file’s original pitch will be preserved whenever this key is played on a sampler. Sample Period The sample rate (or within 1Hz of it) is automatically placed into this box.wav file with this sampler information chunk present. Sampler Loops New loops can be added by first highlighting the range area. Currently this information is only saved in . Example: An audio file for a film soundtrack that would need to be triggered at 45 minutes. the frequency at the center of that loop is entered into this field for the Note and Fine Tune fields. and then going to this dialog and pressing the New button.wav files. You can change the text in this field if you wish the sampler to think the data is at a different rate than it actually is. If no area is highlighted. ending point or length may also be entered in directly by hand in the appropriate fields. you may get G#4 at 99. or infinitely (as with a sustain loop. SMPTE Offset Use this field to enter the SMPTE trigger offset point for the currently loaded sample. which would probably really be A4 and 0 cents. The actual starting point. Each loop can be looped a different number of times. For instance. SMPTE Format This field is used to enter in the SMPTE frame rate format for the currently loaded sample. so manual adjustment after finding the note may be necessary. • If a sampler loop is selected in the Sampler Loops list. but this field will show a proper value if a sampler has written a . backward. 15 seconds and 29 frames. Fine Tune The actual tone can be entered in this text box in values as precise as 1/100th of a cent. might have a frame rate setting of 30 frames-per-second with an offset of 00:45:14:29.99 cents. • If no loops are selected. Note: Use this control to select this “base” or “root” note on a sampler that the current audio file is to be assigned to. Note: This value can be off by a few hundredths of a cent. New can still be pressed to add the entire waveform as a new loop. and the infinite loop would decay once the synth key is released).ADOBE AUDITION 95 User Guide Target Product Code You can’t edit this information.

dib file that can be used to represent the audio file when it’s displayed in OLE-compatible applications and in Explorer. For best results. then the same wave color used for your current color scheme (the color of an unselected waveform in the Edit View wave display) is used. You can see the waveform’s Filename.96 CHAPTER 7 View Menu – Edit View Misc Tab Wave Properties Dialog – Misc tab Press the Bitmap button in this window to browse your system for a . Folder. Date and Time Last Written. Want to use another color? Uncheck the Use default wave color box and the Waveform Foreground Color dialog appears to let you select another color. File Format. Size on Disk. . and Length.) File Info Tab Wave Properties Dialog – File Info tab The File Info window displays non-editable file information about the active audio file.bmp or . If the Use default wave color box is checked. Uncompressed Size. choose a 32x32 pixel image. File Type. (This box works similarly to the standard Windows color selector dialog.

In other words. if no selection is made) play backwards by reversing the order of its samples. if you want to apply a “cool” effect to your audio. but it can be useful in lining up amplitude curves when creating loops or pasting. Reverse Select this command to have the current selection (or entire waveform.97 Chapter 8: Effects Menu – Edit View T he Effects menu displays all the options that relate to waveform transformation (signal processing) functions when you’re in Adobe Audition’s Edit View mode. both channels are inverted. you’ll be able to do it – and lots more – here. Invert This function simply inverts the waveform’s samples. Silence This option silences out the selected range of the waveform. Amplify The Amplify command provides the following options: . Amplitude Use the following commands in the submenu to alter the amplitude (volume level) of an audio file or selected range. Unlike deleting or cutting a selection – which splices the surrounding material together – Silence leaves the duration of the selection intact. and simply zeros the amplitude within it. Note: You must select part or all of your waveform first in order for Silence to work. Reverse is useful for creating special effects. so that all positive offsets are negative and all negative offsets are positive. Inverting doesn’t produce an audible effect. If applied on a stereo waveform.

Amplify dialog – Fade tab . a figure below 100% or 0dB reduces the volume. Any figure over an amplification value of 100% or 0dB makes the selection louder.98 CHAPTER 8 Effects Menu – Edit View Amplify dialog – Constant Amplification tab Amplification (Constant Amplification Tab) Move the slider(s) for the amount of volume change you wish to apply to the selection.

Final Amplification (Fade Tab) Move the slider(s) for the amount of volume change you wish to apply to the end of a selection. DC Bias Adjust Some recording hardware may introduce a DC bias. For example. To achieve a fading out effect. This fades the amplitude of a signal at a constant rate. choose a Final Amplification value that’s lower than that of the Initial Amplification value. Press it to scan the waveform and automatically enter the correct L and R percentages. This lets you tweak the stereo balance or create cool panning effects. enter a positive or negative percentage. and checking the DC Bias Adjust box ensures new recordings are perfectly centered.) Select the Differential option to analyze the entire selected area to get the DC offset. choose an Initial Amplification value that’s lower than that of the Final Amplification value. which results in the recorded waveform appearing to be above or below the normal center line in the Wave Display. To introduce a DC Bias by skewing the entire selected waveform above or below the center line. Check the Lock Left/Right box to make the scroll bars for the left and right channels to work in tandem and move together. and one of -50% moves it down halfway. Any figure over an amplification value of 100% or 0dB makes the selection louder. there will be a dip or peak right at the boundary point. Keep in mind that the actual amount adjusted varies with each sample. if you have a significant DC change in one area of the wave. Adobe Audition scans the selection and automatically adjusts the amplification sliders to the volume level that will normalize the selection to the entered peak level. The Find Zero Now button will be enabled. as entered as a percentage in the L and R boxes. at that boundary where the DC changes. Logarithmic Fades (Fade Tab) This option tells Adobe Audition to use a logarithmic-style fade (also known as a “power fade”). the volume of the left and right channels may be individually adjusted. To achieve a fading in effect. Lock Left/Right With a stereo waveform loaded. Many waveform transformations require that the signal be centered. However. Uncheck the Lock Left/Right box to adjust the channels separately. a setting of 50% moves the entire waveform up halfway. The main use for the option is to cancel out a DC that’s not constant throughout the waveform.ADOBE AUDITION 99 User Guide Initial Amplification (Fade Tab) Move the slider(s) for the amount of volume change you wish to apply to the beginning of the selection. there are times when you want the amplitude of the left and right channels to be simultaneously lowered or raised. Choose the Absolute option to tell Adobe Audition the final DC value you want. For instance. A super-lowcut filter is initiated to achieve this. Any figure over an amplification value of 100% or 0dB makes the selection louder. . which will produce a smooth slope from beginning to end. and adjust every sample by the inverse of that exact amount. Calculate Normalization Values When you press the Calculate Now button. producing a steeper slope at one end of the fade (depending on whether you are fading in or out). (However. Click on the OK button to apply these adjustments. a figure below 100% or 0dB reduces the volume. linear fashion. Linear Fades (Fade Tab) Select this radio button if you want the waveform’s sample values to be faded in an even. a figure below 100% or 0dB reduces the volume. the Absolute option will make all parts the same.

The selection is played over and over (“looped”) until you press the Stop button. Presets Adobe Audition comes with a nice selection of amplification presets including several fades and pans. otherwise they’re entered as a percentage of the original waveform. Since Adobe Audition’s Previews are dynamic. in a circular pattern over time. Check the Bypass box to hear the waveform without any changes in amplification for a quick “before and after” comparison. either the left or right channel is delayed so that the sounds will appear at each ear at different times. this gives you the opportunity to make and hear amplification adjustments as the selection is looped. tricking the brain into thinking they are coming from either side. . In order to spatially encode the signal. Preview Press the Preview button to audition the selected amplification setting before you apply it to the waveform. More information on presets can be found in the “Looking at the Work Area” chapter. amplification values are entered and shown in decibels.100 CHAPTER 8 Effects Menu – Edit View View all Settings in dB When checked. Channel Mixer dialog Binaural Auto-Panner The Binaural Auto-Panner spatially locates the audio left and right.

the audio that appears at the left and right channels will be smoothed out. best fit curve instead of a straight line between control points on the graph. even though the brain will hear the audio as traveling around the head in a circle. the line will not ordinarily travel directly through the control points. When Smooth Wave isn’t checked. When you use spline curves. Note: For more information about Adobe Audition’s graph controls (such as how to add and remove control points). To get the curve closer to a control point. click to create more control points near the point in question. which will cause less noticeable distortion in either channel when heard independently. the dD/dt is always continuous. The readout below the graph displays the current x. The settings chosen will vary between the low and high settings depending on where the graph dictates the signals should be. the points control the shape of this curve. As you go to the right of the graph. When Smooth Wave is checked. The more control points there are clustered together. Choose the highest and lowest frequencies that are represented on the graph with the scroll bars located in Low/High Settings. you are setting the frequency characteristics of the highlighted sample later and later in time. the net delays are the same. Smooth Wave When checked. . see the “Looking at the Work Area” chapter. y position of your mouse. Use Spline Curves when you want very smooth curves instead of straight lines (with their discontinuities at the control points). The boundary between holding non-delayed and delaying signal is discontinuous in that the dD/dt (difference in delay over time) jumps from zero to a positive delay value without hitting any values in-between. Spline Curves Check this option to generate a smoother. The left and right channels will delay and un-delay following a smooth curve such that the delay difference between the left and right channels will follow a sine wave pattern. below. but are achieved by holding one channel constant (at no delay) while the other channel is delayed following half a sine wave.ADOBE AUDITION 101 User Guide Binaural Auto-Panner dialog Frequency Graph Time is represented along the x-axis (horizontal edge). rather. and frequency along the y-axis (vertical edge). the closer the spline curve will be to those points.

This lets you create new stereo mixes using the existing right and left channels as input sources. Invert Check the Invert box for either channel to invert that channel’s phase polarity (i. inverting only one channel places the channels out-of-phase and greatly changes the sound when played back (whereby the previously in-phase information is canceled out).102 CHAPTER 8 Effects Menu – Edit View Flat Pressing the Flat button will reset the graph to its default state. Mixing a file that has been binaurally processed to the left with one that has been binaurally processed to the right (in the same frequency range within 2 Hz) has interesting effects. the peaks will become valleys. For special spatial panning effects. . Low Settings all correspond to the lower part of the graph (points dragged near the bottom). a frequency of 0. and High Settings affect the top. For example. select an L value of 50 and a R value of 50 to sum equally the current L and R channels to the new right channel after mixing.e. The default values are automatically set so that the waveform’s original gain values will be unchanged. A mono source (left and right the same) will appear to move from left to right and back at period of 1/frequency. For instance.. However. • Centering: You can trick the brain into thinking the binaural signal is coming from the left or right. choose wave frequencies of 1Hz or less. there will be no perceived difference in sound. Higher intensities work well with lower binaural frequencies. • Frequency: This is the binaural frequency that will be encoded into the final process.1Hz will pan the audio in a "full circle" over the period of 10 seconds. removing all control points. Low/High Settings There are two sets of settings for control of binaural frequencies. More information on presets can be found in the “Looking at the Work Area” chapter. you can create some interesting stereo imaging effects. Enter an L value of 100 and a R value of 0 to make the new right channel contain the material of the original left channel. For example. and valleys will become peaks). By recombining and inverting the channels. New Right Channel Adjust the slide bars to determine the percentage of the current left and right channels that will be mixed into the new right channel. Channel Mixer The Channel Mixer enables you to alter the left/right balance of a stereo waveform.) New Left Channel Adjust the slide bars to determine the percentage of the current left and right channels that will be mixed into the new left channel. choose an L value of 50 and an R value of 50 to sum equally the current L and R channels to the new left channel after mixing. the Channel Mixer can’t make the waveform any louder than it already is. (In other words. Whenever both channels are inverted. Presets Adobe Audition comes several Channel Mixer presets. • Intensity: This controls the intensity of the binaural encoding. Enter an L value of 0 and a R value of 100 to make the new left channel contain the material of the original right channel.

or so that the waveform’s overall dynamic range is kept at roughly the same level. or so that signals that fall below a certain threshold (i. this gives you the opportunity to make and hear Channel Mixer adjustments as the selection is continuously played. noise) are eliminated. Check the Bypass box to hear the waveform without any changes in channel mixing for a quick “before and after” comparison. Control of the Dynamics Processor is carried out through any of the four tabbed sheets: Graphic Tab Dynamics Processing dialog – Graphic tab .e. Try using the Channel Mixer’s Vocal Cut preset to create your own karaoke backing tracks. The selection is looped until you press the Stop button.ADOBE AUDITION 103 User Guide Preview Press the Preview button to audition the selected Channel Mixer setting before you apply it to the waveform. It should remove most (if not all) of the lead vocal from many contemporary stereo music recordings. Since Adobe Audition’s Previews are dynamic.. You can also expand or gate the signal so that low-level signals are reduced in level. Dynamics Processing The dynamics processor varies the output level of a waveform. thereby increasing the perceived dynamic range. This lets you limit or compress the dynamic range of a sample so that the perceived loudness is kept below a defined limit. based on its input level.

Adjusting the shape of this line will adjust the input or output assignments. Use Spline Curves when you want very smooth curves instead of straight lines (with their discontinuities at the control points). Invert The Invert button changes the graph to one that will function as the exact opposite. you can boost all input that has a level of around -20dB.e. Flat The Flat button resets the graph to its default state of an unchanged signal. all quiet sounds will be loud. pressing Invert changes the graph to one with the corresponding expander characteristic. For example. You can also draw an inverse line (a line from upper-left to lower-right) that will dramatically boost low amplitudes while dramatically suppressing high amplitudes (that is. Splines Check this option to generate a smoother. To get the curve closer to a control point. -100 and 0. removing all control points. A line that flows directly from the lower-left to the upper-right (default) depicts a signal that has been left untouched. Note: For a graph to be invertible. best fit curve instead of a straight line between control points on the graph. . it must have points in the two default corners (-100..104 CHAPTER 8 Effects Menu – Edit View Graph The graph depicts input level along the x-axis (left and right) and the new output level along the y-axis (up and down). the closer the spline curve will be to those points. the line will not ordinarily travel directly through the control points. leaving everything else unchanged. When you use Splines. if an effect function with a compressor characteristic is being displayed. Note: For more information about Adobe Audition’s graph controls (such as how to add and remove control points). since every input value goes to the exact matching output value. 0) and its output level must always increase from left to right (i. each control point must be higher than the one to its left). thereby altering the dynamic range. For example. The more control points there are clustered together. and all loud sounds will be quiet). rather. click to create more control points near the point in question. see the “Looking at the Work Area” chapter. the points control the shape of this curve.

. and -20dB for the threshold. Note: Threshold settings must get lower in value as you move down the list.ADOBE AUDITION 105 User Guide Traditional Tab Dynamics Processing dialog – Traditional tab The Traditional tab lets you enter ratios and thresholds numerically. If you want to expand 2:1 below -20dB as well. You can input Compress. Simply enter the data to match the compressor you want. each with its own ratio and threshold setting. Flat. For example. choose Compress from the drop-down list. to create a 3:1 compressor above -20dB. and enter 2 in the first Below line. choose Expand from the drop-down list. or Expand settings for up to six sections or stages. enter 3 (for 3:1) in the Above line. Attack/Release Tab Specify gain processing and level detection values using the fields in this area of the Dynamic Range Processing effect.

If Joint Channels is checked. can be heard at around 1000Hz/ms total. a loud drum beat in the left channel will make the background noise sound louder in the right than in the left. • Joint Channels In stereo.106 CHAPTER 8 Effects Menu – Edit View Dynamics Processing dialog – Attack/Release tab Gain Processor The Gain Processor amplifies or attenuates the signal depending on the amplitude detected. If there’s suddenly a quiet portion that drops 30dB. both channels are used to find a single input dB value. For example. • Release Time is applied just before output. For example. . and both channels are amplified together by the same amount (thus preserving the stereo center-channel image). such as a “vibrating” sound. This can sound strange. it will take “this much time” before the output actually drops to its corresponding volume level. if the Attack and Release times are each set to 5 ms (making 10 ms total). where the Attack is the time it takes for the start of a pulse to reach the desired output volume. Attack time determines the time in milliseconds that it takes for the processed output signal to reach its specified output volume. Note: If the sum of Attack and Release times is too short (less than about 20 milliseconds total). sometimes causing the surrounding background noise to get louder on one channel at a time. For instance. then a vibrating sound at 100Hz can be heard. It’s the last step performed on the audio. Here are its components: • Output Gain is a gain applied to the output signal. audible effects. • Attack Time is applied just before output. a total value of about 30 ms is about as low as you can go without introducing these effects. For example. Thus. each channel can be compressed independently. a loud drum beat on the left channel will also cause the right channel to be reduced in level by an equal amount. Release Time is the time it takes the end of a previous output level to reach the specified output volume. the Release is the time it takes for the end of the pulse to reach the desired level.

with a Lookahead Time of 0. a spike will stay loud until all of the attack times have elapsed. • Release Time is applied when retrieving the current amplitude information. and for brief instances. It equates to the RMS value times two. a limiter (flat horizontal line) at -10dB causes the RMS amplitude of the result to average -10dB (where 0dB is a maximum amplitude sine wave without clipping). and is a bit outdated. a drum hit. • RMS is a graph interpretation method that more closely matches the way people hear volume. which may be desirable in certain compression scenarios since it can enhance the impact of. For example. For example. so Lookahead Time will actually cause the attacks to start before the audio gets loud. Attack Time determines the time in milli- seconds that it takes for the processed output signal to reach its specified output volume. if the RMS value is -20dB. this is obviously not desirable if you are using limiting in order to reduce the maximum amplitude of the audio.ADOBE AUDITION 107 User Guide Level Detector The Level Detector determines the current waveform input amplitude. Otherwise. then the equivalent peak value will be -40dB. where the Attack is the time it takes for the start of a pulse to reach the desired output volume. Band Limiting Tab The fields in the Band Limiting tab allow you to specify a frequency range where all dynamics manipulation will occur. • Peak mode is a graph interpretation method that is a little more difficult to use than RMS. At times. Here are its components: • Input Gain is added to the signal before it goes into the Level Detector (the section that detects the current level). This essentially “pushes” the graph up or down by the gain given. which is used as the input side of the dynamics processor. However. the Release is the time it takes for the end of the pulse to reach the desired level. it will take “this much time” before the output actually drops to its corresponding volume level. . Note: The spikes occur because it takes a little time to determine (the Level Detector’s attack value) and react (the Gain Processor’s attack value) to the current signal level. these onsets can go beyond the limits of your compressor settings. instead of right on top of the transient. say. • Attack Time is applied when retrieving the current amplitude information. This mode causes the output to be exactly the RMS amplitude that is specified in the graph. Release Time is the time it takes the end of a previous output level to reach the specified output volume. If there is suddenly a quiet portion that drops 30dB. This method is available here for backward compatibility. Lookahead Time Lookahead Time is used to handle sharp spikes that may occur at the onset of a louder signal. That is. This occurs because the RMS value calculated was mapped to a peak sample value for output.

Of course.). . dynamics processing only affects audio in the frequency range of 1kHz to 5kHz. dynamics processing only affects audio in the frequency range of 1kHz to 5kHz. 11025 for 22kHz. Create Envelope Only Check this option to apply any dynamics processing. To use the entire frequency range of the source material. For example. you’ll hear pink noise instead of the audio that’s highlighted in the Wave Display. with values of 1000 for Low Cutoff and 5000 for High Cutoff. To use the entire frequency range of the source material. etc.108 CHAPTER 8 Effects Menu – Edit View Dynamics Processing dialog – Band Limiting tab Low Cutoff This is the lowest frequency that dynamics processing will affect. For example. When you press the Preview button with the Create Envelope Only box checked. While it probably won’t be much fun to listen to. To use the entire frequency range of the source material. this envelope can then be copied and used with Modulate option of Edit > Mix Paste to modulate it with another sound’s amplitude. leave this setting at 0. to which compression or expansion is applied. You can define a band. this setting should be at 1/2 the current sample rate (24000 for 48kHz. it’s also useful for just seeing the amplitude envelope of your audio. within the current frequency range. and have the result returned as an amplitude envelope. The Low Cutoff point is the bottom boundary in defining this band. with values of 1000 for Low Cutoff and 5000 for High Cutoff. The High Cutoff point is the top boundary in defining this band. or range. leave this setting at 0. High Cutoff This is the highest frequency that dynamics processing will affect.

This function is handy when modifying tones that are generated with Adobe Audition. Preview Press the Preview button to audition the selected dynamic range processing setting before you apply it to the waveform. Boost preset to simulate the processed sound of a contemporary FM radio station. The top of the graph represents 100% (normal) amplification. this gives you the opportunity to make and hear processing adjustments as the selection is looped. so as to create more realistic-sounding instruments and effects. Create Envelope dialog Graph The graph depicts time along the x-axis (left and right) and the new output level along the y-axis (up and down).ADOBE AUDITION 109 User Guide You might want to use this feature on a copy of your waveform instead of the original file. . Since Adobe Audition’s Previews are dynamic. Envelope Envelopes give you control over which parts of your wave are amplified. the bottom represents full attenuation (silence). More information on presets can be found in the “Looking at the Work Area” chapter. Presets Adobe Audition comes with several Dynamic Range presets. Fast Release. Check the Bypass box to hear the waveform without any changes in dynamic range for a quick “before and after” comparison. with the blue line representing amplitude change. The selection is played over and over (“looped”) until you press the Stop button. and by how much. Use the RadioLimit. including some great-sounding compression and limiting settings.

this gives you the opportunity to make and hear changes as the selection is looped. Hard Limiting will bring down only those portions that are clipping (or would be clipping if converting to 16-bit). For example. Hard Limiting Adobe Audition’s Hard Limiter enables you to drastically attenuate audio above a certain threshold. The default value of 100% means there will be no change in volume. the closer the spline curve will be to those points. but do not want to Normalize down the entire waveform (which would reduce the volume of it). the line will not ordinarily travel directly through the control points. measured in percentage. for instance. you did a Mixdown to a 32-bit audio file. . ensuring that the maximum sample amplitude does not go above the given limit. To get the curve closer to a control point. More information on presets can be found in the “Looking at the Work Area” chapter. Presets Adobe Audition comes with several Envelope presets. you can amplify a piece of audio well beyond where it would normally clip. the top of the graph is whatever percentage you specify and the bottom is 0%. when you draw your envelope curve. When you use Spline Curves. best fit curve instead of a straight line between control points on the graph. Spline Curves Check this option to generate a smoother. Flat The Flat button resets the graph to its default state by removing all control points. The more control points there are clustered together. Preview Press the Preview button to audition the selected envelope adjustment before you apply it to the waveform. Check the Bypass box to hear the waveform without any changes in envelope processing for a quick “before and after” comparison. Amplification The value in the Amplification field specifies where the top of the graph is. rather. and the Hard Limiter will soften the regions that would otherwise be clipping. while leaving all audio samples below that threshold alone. The selection is played over and over (“looped”) until you press the Stop button. Then. This can be extremely handy if. Use Spline Curves when you want very smooth curves instead of straight lines (with their discontinuities at the control points).110 CHAPTER 8 Effects Menu – Edit View Note: For more information about Adobe Audition’s graph controls (such as how to add and remove control points). the points control the shape of this curve. see the “Looking at the Work Area” chapter. click to create more control points near the point in question. and only have a few places where the audio is clipping. Since Adobe Audition’s Previews are dynamic.

To have the left and right channels vary independently. Generally around 100 ms (the default) works very well. Enter the desired amplification value. uncheck this option. To avoid clipping when working with 16-bit audio. as measured in dB. the audio may be pre-amplified first. you’ll probably want to click this button. and will preserve very low bass frequencies. audio may just stay very quiet. Look Ahead Time This is the amount of time (measured in milliseconds) that it will generally take to attenuate the audio before the loudest peak will be hit. audible distortion effects may be heard. both channels vary in loudness together.ADOBE AUDITION 111 User Guide Hard Limiter dialog Here are the major components of the Hard Limiter window: Limit Max Amplitude to This is the maximum sample amplitude that will be allowed. you can use this to amplify it and soften the regions that would otherwise clip (similar to what is commonly done with the audio on TV commercials). If you change any of the input parameters. Link Left & Right If checked. The Clipping Statistics fields show what percentage of the audio would clip if limiting were not performed. Boost Input by Before performing the limiting. if you set it to -0. Release Time This is the time (measured in milliseconds) that it takes for the attenuation to rebound back 12dB (or roughly the time it would take audio to resume normal volume if an extremely loud peak was encountered). set this value to no more than -0.5dB.1dB. you’ll have a little more headroom for any future edits. Note: If this value is too large. . Make sure the value is at least 5 ms. and not resume normal levels for a while. To make a selection louder and ensure that no clipping occurs. Gather Statistics Now Press this button to update the Clipping Statistics display. Note: If this value is too small. This preserves the stereo image of the source.

enter a positive or negative percentage. if the loudest peak of a waveform is at 80% and the quietest peak is at 20%. The selection is played over and over (“looped”) until you press the Stop button. Decibels Format With this box selected. This could degrade the waveform’s stereo image. Check DC Bias Adjust and set it to 0% to center the waveform on the center (zero voltage) line. For example. Since Adobe Audition’s Previews are dynamic. Normalize L/R Equally Check this box to use both channels of a stereo waveform in calculating the amplification amount. . All parts of the wave are amplified at equal levels. potentially amplifying one channel considerably more than the other. and its new quietest peak being 40%. normalization allows you to achieve the greatest amount of amplification that will not result in clipping (distortion). Normalize dialog Normalize to Enter the percentage of maximum to which you want to normalize. DC Bias Adjust Some recording hardware may introduce a DC Bias. Normalize This command brings up the Normalize dialog. To skew the entire selected waveform above or below the center line. you might want to normalize the waveforms to no more than 96% as some audio compact disc players have problems accurately reproducing bits that have been processed to 100% (maximum) amplitude. When it’s unchecked. which results in the recorded waveform appearing to be above or below the normal center line.112 CHAPTER 8 Effects Menu – Edit View Preview Press the Preview button to audition the selected hard limiting adjustment before you apply it to the waveform. which enables you to set a desired peak level to which you want a file or selection raised. Check the Bypass box to hear the waveform without any changes in hard limiting for a quick “before and after” comparison. Choose 100% (default) to apply the most amount of amplification possible without clipping. normalizing the file to 100% results in the waveform’s new loudest peak being 100%. If you’re planning to put normalized audio on CD. this gives you the opportunity to make and hear changes as the selection is looped. For example. When set to 100% or 0db. the value in the Normalize to box is represented in decibels instead of percentage. Adobe Audition computes the left and right values in a stereo waveform separately. choose 50% to compute values needed to amplify the selection no more than 50% of maximum (resulting in a 3dB attenuation from maximum output).

so things occurring on the right or left are boosted or cut. You can use the graph to position the center channel anywhere from hard left (-100%) or hard right (100%). The graph’s x-axis (horizontal) represents the length of the waveform or selection. and “center” is the sum (L+R) of them. Center Channel Pan This graph represents the pan position of the center channel of a stereo waveform over time. with the corresponding surround channel moving right to left in the opposite direction. Both of these elements can be altered dynamically over time by using the respective graph. Use this for panning original stereo data more realistically than amplitude panning allows. right.ADOBE AUDITION 113 User Guide Pan/Expand The Pan/Expand effect is used to pan. the center channel of a stereo waveform. while the y-axis (vertical) represents the percentage of the pan from center. Expanding works by subtracting out or adding differing amounts of left and right channel signal. middle. . you can think of a stereo recording as having 4 channels (left. and this effect will pan these channels around. It also lets you expand or narrow the stereo separation of the left and right channels. surround). This type of panning can provide realism to original stereo recordings. For example. or shift. Pan/Expand dialog Center Channel Panning makes use of the “surround” and “center” channels of a stereo recording. where the “surround” channel is the difference (L-R) of the two original channels. and the old “surround” channel coming out the right. In this case. you can pan hard left to get the old “center” channel coming out the left speaker.

To get the curve closer to a control point. This either amplifies (>100%) or removes (<100%) the differences between channels. this gives you the opportunity to make and hear processing adjustments as the selection is continuously played. When you use Spline Curves. Since Adobe Audition’s Previews are dynamic. • Check the Automated box in the Stereo Expand section of the Multitrack View version of the Pan/Expand dialog to draw the Stereo Expand curve using a pink envelope on waveform blocks. the points control the shape of this curve. Flat The Flat button resets the graph to its default state by removing all control points. the closer the spline curve will be to those points. Check the Bypass box to hear the waveform without any changes in panning or expanding for a quick “before and after” comparison. Note: You must have View > Show FX Parameter Envelopes in Multitrack View turned on in order to use parameter automation. for example). rather. Presets Adobe Audition provides several Pan/Expand presets. The expansion level can vary over time for interesting effects (growing from a mono signal to a very wide stereo signal. Spline Curves Check this option to generate a smoother. The more control points there are clustered together. Note: For more information about Adobe Audition’s graph controls (such as how to add and remove control points). Automated When using Pan/Expand as a real-time effect in Multitrack View. • Check the Automated box in the Center Channel Pan section of the Multitrack View version of the Pan/Expand dialog to draw the Center Channel Pan curve using a yellow envelope on waveform blocks. best fit curve instead of a straight line between control points on the graph. see the “Looking at the Work Area” chapter. The selection is looped until you press the Stop button. (Stereo field denotes where in space instruments or other sources are placed within the L/R image of a stereo waveform.114 CHAPTER 8 Effects Menu – Edit View Stereo Expand This graph shows the expand level over time. With some material. The graph’s x-axis (horizontal) represents the length of the waveform or selection. the line will not ordinarily travel directly through the control points. click to create more control points near the point in question. it supports parameter automation. Stereo Field Rotate This effect allows you to rotate the stereo field of an audio file. .) This is accomplished by manipulating the Stereo Field Rotation graph. Use Spline Curves when you want very smooth curves instead of straight lines (with their discontinuities at the control points). while the y-axis (vertical) represents the percentage of stereo expansion. More information on presets can be found in the “Looking at the Work Area” chapter. Preview Press the Preview button to audition the current Pan/Expand setting before you apply it to the waveform. a stereo expanding effect may be achieved by increasing the differences between the left and right channels.

At 90 degrees right. while the y-axis (vertical border) displays the number of degrees off center for the left and right channels. see the “Looking at the Work Area” chapter. . the points control the shape of this curve. click to create more control points near the point in question. To get the curve closer to a control point. the line will not ordinarily travel directly through the control points. Invert Left/Right Check this option to reverse the way the graph goes. In the range of -45 to 45 degrees. (This is the same as choosing the Invert effect from the Effects menu). just the left channel is inverted. Use the graph to position the stereo field anywhere from hard left (the top of the graph) or hard right (the bottom of the graph) at any specific point in time. At 90 degrees left. only the right channel is inverted. The x-axis (horizontal border) of the graph shows the waveform’s timeline. Rotation This graph represents the rotation of the stereo field over time. Note: For more information about Adobe Audition’s graph controls (such as how to add and remove control points). both the left and right channels are 180 degrees out of phase. When you use Spline Curves. Use Spline Curves when you want very smooth curves instead of straight lines (with their discontinuities at the control points). best fit curve instead of a straight line between control points on the graph. This means that the waveform is inverted. so an upward line spins the field clockwise instead of counter-clockwise. The more control points there are clustered together. the results are identical to Adobe Audition’s Pan/Expand effect. Spline Curves Check this option to generate a smoother. rather. the closer the spline curve will be to those points. panning the center channel left or right while panning the surround channel the opposite direction.ADOBE AUDITION 115 User Guide Stereo Field Rotate dialog Note: If you specify a stereo field rotation of 180 degrees.

Flat The Flat button resets the graph to its default state by removing all control points.116 CHAPTER 8 Effects Menu – Edit View If you have Adobe Audition’s Phase Analysis window (Analyze > Phase Analysis) open. if your graph is drawn to rotate more and more to the right. Presets Adobe Audition provides several Stereo Field Rotate presets. But. that same graph will now rotate the phase image to the right. However. Frequency. the how fast the cycle should move (Frequency). or Total Cycles. Use it to give a stereo effect to a mono sample (where left and right channels are identical). how many beats per minute the loop will have (Tempo). this gives you the opportunity to make and hear processing adjustments as the selection is continuously played. you’ll see the phase rotating clockwise (to the left). Delay Effects The options in this menu can be used to introduce a series of “repeats” or delayed echoes of the original input signal at regularly spaced or user-defined intervals. the graphs are only as long as specified. An audio file or selected range can be delayed in any of the following ways… in any of the following ways… in any of the following ways…. Note: You must have View > Show FX Parameter Envelopes in Multitrack View turned on. Loop Graph When this box is unchecked. Since Adobe Audition’s Previews are dynamic. if you have Invert checked. The selection is looped until you press the Stop button. So. so they loop repeatedly over the course of the selection. or to add harmony or “thickness” to a vocal track. Range Use this drop-down control to select the y-axis display range of the stereo rotation graph from 45 degrees to 360 degrees. you’ll actually hear the audio start panning to the right if your graph started at 0. If you check Loop Graphs. Automated When using Stereo Field Rotate as a real-time effect in Multitrack View. it supports parameter automation. You can either specify how long the graphs should be (Period). Checking Loop Graphs also enables the drop-down control that lets you specify Period. Chorus is a great way to add a degree of “presence” to an existing track. Check the Automated box in the Multitrack View version of the Stereo Field Rotate dialog to draw the Center Channel Pan using a yellow envelope on waveform blocks. You can also use chorusing to create some truly out-of-this-world special effects. Tempo. the graphs are the same length as your selection. or how many times you want the graph to loop in the given selection (Total Cycles). Chorus The Chorus effect adds richness to a sound by making it sound as though several voices or instruments are being played at once. . so the dynamic changes to your delay are graphed across the whole selection. you can actually watch the stereo field rotate. Preview Press the Preview button to audition the current Stereo Field Rotate setting before you apply it to the waveform. Check the Bypass box to hear the waveform without any changes in stereo field rotation for a quick “before and after” comparison. More information on presets can be found in the “Looking at the Work Area” chapter.

You’ll get better results if you convert mono files to stereo before applying a Chorus effect. everything will start to sound “warbly”. Thickness Thickness determines the number of voices that are simulated in the chorus effect. Use this setting to limit the maximum amount of delay that will ever occur. Enter the number of desired voices in this field. rather like a tape that is being eaten by a cassette deck. intonation. Note: The more voices you specify. The final result may end up with an additional voice if the Dry Out setting is used (which mixes the original sample in with the chorused result). and vibrato. • If the setting is very small. they represent ranges of random values. and an unnatural flanging effect may be noticed. Max Delay An important component of chorusing is the introduction of short delays (often in the 15-35 millisecond range) that vary in duration over time. . so each voice will be unique in each of these characteristics.ADOBE AUDITION 117 User Guide Chorus dialog Adobe Audition uses a direct-simulation method of achieving the chorus effect. which means that each voice (or layer) is made to sound distinct from the original by slightly varying the timing. • If it is set high. While the properties below apply to each voice. the longer the effect will take to compute – but the result will have extra richness and fullness. Chorus Characteristics These are the characteristics used for each voice (layer) in the chorus. all the voices will start merging into the original. You can use the Feedback setting to add extra detail to the result.

Natural vibratos occur around 2dB to 5dB. the further apart the onset of each word may be. Note: Be very careful with this setting. however. and then start cycling back before reaching the maximum. if you set it to 2Hz. like loud ringing or other artifacts. creating an objectionable warble. • If this setting is very low. separating them in time by as much as 200 milliseconds (1/5th of a second). Please note that this is a maximum depth – just as in the delay settings. • If this setting is extremely low (less than 1dB) the vibrato may be unnoticeable unless the Vibrato Rate has been set extremely high. Please note that this is only a maximum. • High spread values cause the separate voices to start at different times – the higher the value. • With very low values. more traditional feedback noise will be heard. the result can be very unnatural – more like a singer who had too much coffee. However. the vibrato volume may not go as low as the setting indicates at times. like a singer that cannot keep his or her breath steady. low values may also bring out some flanging effects. the voices may vary so quickly that “warbling” effects can be heard. Vibrato Depth Another property that varies with each voice is vibrato. For example. These may get so loud that they will clip and destroy the signal. the sound may cut in and out. Vibrato Rate The Vibrato Rate determines the maximum rate at which vibrato will occur. Just a little feedback (less than 10%) can give an extra richness to the effect (and even this depends on the delay and vibrato settings). Depending on other settings. This can give your waveform an extra echo or reverb effect. the effect is of all the voices singing in unison. as in the Flying Saucers setting. a value of 2Hz means the delay used could vary from no delay to the maximum delay and back twice each second (sort of a pitch vibrato at 2 times a second). where it generates sounds that are reminiscent of warbly UFOs whizzing around your head. the resulting voice will slowly get louder and quieter. • If Vibrato Depth is set too high. as it gives a more natural feel to the effect. the individual voices won’t vary much in pitch at all. . which may be undesirable if your goal is a realistic chorus effect.118 CHAPTER 8 Effects Menu – Edit View Delay Rate This parameter determines the time taken for the delay to cycle from its zero-to-maximum delay setting. For example. a value of 5dB may alter a chorused voice by varying its amplitude by as much as 5dB louder or quieter than the original. Spread The spread setting gives an added delay to each voice. which describes how the amplitude varies over time. • With low values. Because the actual delay used varies over time. instead of a vibrato effect. sometimes this can be a desired effect. • If the vibrato rate is set high. • If it is set high. This limitation is intentional. placing each voice slightly out of tune with the others (which is what gives the effect of a separate voice). for example. it may only go part way between zero and the maximum delay. Feedback Use this setting to include a certain percentage of processed chorused voices back into the mix. the pitch of the sample will increase or decrease over time. This value determines the maximum variation in amplitude that will occur. If too much feedback is used.

and voice #5 will be on your right. both settings should be less than 100%. Adobe Audition adds the original voice to the number of processed voices (which is determined by the Thickness setting). all the voices are spaced evenly about a half circle from left to right. Output The final output can be a mix between the original input (dry) signal and the chorused (wet) signal. and very high stereo field settings. when you add binaural cues. This is why greater separation can be heard when listening through speakers if binaural cues aren’t used. the narrower the stereo field. but only when played through headphones. For example. then there will always be one voice directly in the center. • With an even number of voices. In addition. If the audio is meant to be played through speakers. as it will have no result – except that if the box is checked. you can achieve interesting special effects (as in the preset Another Dimension). Stereo Field denotes where in space instruments or other sources are placed within the L/R image of a stereo waveform. and those to the right go farther right. voice #2 will be left-of-center. this option should be turned off. Average Left & Right Adobe Audition can either average the original left and right channels or keep them separate in order to preserve any stereo image that may already exist. voice #3 will appear in the center. Adobe Audition will process the sample more slowly. At settings higher than 50%. voice #4 will be right-of-center. Add Binaural Cues Check this option to add separate delays to the left and right outputs of each voice. (For example. the voices start migrating to the outer edges: voices to the left go farther to the left. At a setting of 50%. all voices are pushed either hard left or hard right. If you set it to zero. the stereo image will be preserved when processing a stereo source file. In the case of Adobe Audition’s stereo field Settings. Dry Out This setting determines how much of the unprocessed signal is mixed into the final output. . while those having images that are centered around the middle are said to have a narrow stereo field. If no cues are added. They determine where the individual voices will be placed in the stereo field. This can make each voice appear to be coming from a different direction. • If you use an odd number of voices. the volume of the right channel for a voice panned all the way to the left is still significant.) Note that there is no need to check this box if the sample was originally monophonic.ADOBE AUDITION 119 User Guide With very high settings. otherwise the overlaying of several voices may cause clipping. no output will be sent to the right channel. If you leave the box unchecked. if a thickness of 5 is used. A waveform that contains sound sources that are spread widely from left to right is said to have a wide stereo field. Ordinarily. spatial binaural cues such as those that exist in reverberated audio or live stereo recordings will be preserved. as well as how the original stereo signal will be interpreted. Stereo Chorus Mode The Stereo Chorus Mode settings are only active when working with stereo files. the greater the chance that the chorused voices will be placed in the center of the L/R stereo image. Narrow Field/Wide Field Slider Use this control to specify the stereo field of the Chorus Effect. each voice will be panned such that voice #1 will be to your left.

and the desired stereo image field settings. with a Thickness setting of 3. Reduce the blend to 30% or so to blend the original signal with the processed chorus. Add the chorus effect to a copy of the original audio and set this value to zero to create a chorus-only version of the original. as well as a number of other effects. this value should be set lower whenever more voices are used. while those falling within the 15-34 millisecond range can be used to create a simple chorus or flanging effect. Use Adobe Audition’s multitrack mixing capabilities to dynamically bring in and fade out the chorus. (These effects won’t be as effective as the actual chorus or flanging effects within Adobe Audition’s Effects menu. Highest Quality (but slow) Check this box to make sure the chorusing effect is the best quality.) Delay dialog . Delay Delay can be used to create single echoes. However. Preview Press the Preview button to audition the current Chorus setting before you apply it to the waveform. 20% might be better. Check the Bypass box to hear the waveform without any applied chorusing effects for a quick “before and after” comparison. this gives you the opportunity to make and hear processing adjustments as the selection is continuously played. Since Adobe Audition’s Previews are dynamic. The best value will vary depending on the number of voices. insert both the original and the fully chorused versions. or just tweak the final amplitude of the background chorus with the track’s volume settings. Use the volume envelope control to adjust the volume of the chorus over time. this will slow down processing time both when you preview the effect and when you actually apply it. as the delay settings will be fixed and won’t change over time. but with Thickness at 10. Presets Adobe Audition provides several Chorus presets. In the mixer. For example. The selection is looped until you press the Stop button. a setting of 40% would be appropriate. Wet Out This setting determines how much of the processed signal is mixed into the final output. Generally. This technique can be handy for emphasizing certain portions of the singing with a backup chorus. Delays of 35 milliseconds or more will be perceived as discrete echoes.120 CHAPTER 8 Effects Menu – Edit View Keep the original signal near 100% and reduce the Wet Out to give the singer or instrument a “backup chorus”. More information on presets can be found in the “Looking at the Work Area” chapter.

you can spatially locate a mono sound (a sound with the same information for both the left and right channels) so that it appears as though the sound is coming from the left or the right side.ADOBE AUDITION 121 User Guide By reducing the delay times further down into the 1-14 millisecond range. Invert If this box is checked. This means that cancellation will occur when you mix the inverted and original waveform. The selection is looped until you press the Stop button. for the following 10 seconds the delay could be at 7 milliseconds. Presets Adobe Audition provides several Delay presets. Dynamic Delay Dynamic Delay allows you to change the amount of delay over the length of the waveform. Check the Bypass box to hear the waveform without any applied Delay effects for a quick “before and after” comparison. Entering a negative number means that you can move a channel ahead in time instead of delaying it. add several seconds of silence using Adobe Audition’s Generate > Silence command. . Make sure there is enough silence at the end of the waveform for the delay trails to complete. for the first five seconds of an audio file you can have a 2 millisecond delay. such as creating a quick-and-dirty comb filter. if you enter 200 milliseconds for the left channel. For instance. Delay These sliders allow you to adjust the desired delay for both the left and right channels up to plus or minus 500 milliseconds. and rerun the Delay effect. this gives you the opportunity to make and hear processing adjustments as the selection is continuously played. Preview Press the Preview button to audition the current Delay setting before you apply it to the waveform. Since Adobe Audition’s Previews are dynamic. the positive values of the selected waveform become negative. For instance. A value of 50 will mix the two evenly. and so on. even though the actual volume levels for left and right of the wave are identical. undo the Delay effect. More information on presets can be found in the “Looking at the Work Area” chapter. Mixing Move the Mixing sliders to set the percentage of Delayed (wet) signal and unprocessed Original (dry) signal to be mixed into the final output. for the next 15 seconds you could have a 20 millisecond delay. If the delay abruptly cuts off before it fully decays. Inverting the delayed signal can be used for special effects. the delayed portion of the affected waveform will actually be heard before the original part.

Original . Delay Graph Use the Delay Graph to specify the amount of delay in the Dynamic Delay effect. To get the curve closer to a control point. the points control the shape of this curve. The x-axis (horizontal edge) represents the timeline of the selection. This causes the waves to cancel out periodically.122 CHAPTER 8 Effects Menu – Edit View Dynamic Delay dialog Dynamic Delay is especially cool when used as a real-time effect in the Multitrack View. The more of the original signal you have in the mix. Spline Curves Check this option to generate a smoother. which has a similar principle) to the Multitrack View. the Delay Graph works just like any other Adobe Audition graph control. Use Spline Curves when you want very smooth curves instead of straight lines (with their discontinuities at the control points). the closer the spline curve will be to those points. For more information about Adobe Audition’s graph controls (such as how to add and remove control points). you get a new envelope that determines the delay. Invert Check this box to invert the delayed signal. the line will not ordinarily travel directly through the control points. click to create more control points near the point in question.Delayed Slider Use this control to mix in the desired amounts of original and delayed audio. . while the y-axis (vertical edge) represents the length of delay (measured in milliseconds). rather. see the “Looking at the Work Area” chapter. The more control points there are clustered together. best fit curve instead of a straight line between control points on the graph. the less delay you’d have – and vice-versa. When you use Spline Curves. instead of reinforcing the signal. If you add the dynamic delay (or Dynamic EQ. Functionally.

and Stereo Phasing fields. (For a single echo. Echo This function adds a series of repeated. The x-axis (horizontal edge) represents the timeline of the selection. Functionally. If you check Loop Graphs. Automated When using Dynamic Delay as a real-time effect in Multitrack View. use the Delay function instead). Period. The audio itself isn’t delayed. while the y-axis (vertical edge) represents the percentage of feedback. Note: You must have View > Show FX Parameter Envelopes in Multitrack View turned on in order to use parameter automation. how long the graphs should be (Period). so the dynamic changes to your delay are graphed across the whole selection. the other two reflect the change. the Feedback Graph works just like any other Adobe Audition graph control. Positive values will delay the right channel. just the curve used. If you change one of these values. the graphs are only as long as specified. Frequency. Total Cycles. see the “Looking at the Work Area” chapter. it supports parameter automation. Stereo Curve Difference This setting is only effective when Dynamic Delay is used in Adobe Audition’s Multitrack View. while negative values will delay the left. Check the Automated box in the Delay section of the Multitrack View version of the Dynamic dialog to draw the Delay curve using a purple envelope on waveform blocks. For more information about Adobe Audition’s graph controls (such as how to add and remove control points). It’s the number of milliseconds one channel is behind with respect to the other when following the envelope you draw in Multitrack View. so they loop repeatedly over the course of the selection. or how many times you want the graph to loop in the given selection (Total Cycles).ADOBE AUDITION 123 User Guide Feedback Graph Use the Feedback Graph to specify the amount of feedback in the Dynamic Delay effect. This leads to a neat effect where the phasing sound of the delay lags in one channel with respect to the other. decaying echoes to a sound. Checking Loop Graphs also enables the Frequency. the graphs are the same length as your selection. and Total Cycles are all ways of determining the length of the looped section. Period. . Loop Graphs When this box is unchecked. You can either specify the how fast the cycle should move (Frequency).

Change a room’s characteristic sound from one with reflective surfaces (yielding echoes that have a bright. a setting of 100 milliseconds results in a 1/10th-second delay between successive echoes. Delay. You can create striking stereo echo effects by using different Left and Right channel values for the Decay. A decay setting of zero percent results in no echo at all. maintaining the same settings for each channel. and Initial Echo Volume controls. Each successive echo will trail off at a certain percentage less than the previous one. while a decay of 100 percent produces an echo that never gets quieter. • Decay is the falloff ratio of an echo. Uncheck this box to adjust the channels separately. • Initial Echo Volume: Adjust these sliders to set the percentage of echoed (wet) signal to be mixed with the original (dry) signal in the final output. the left and right channels may be processed separately. and Initial Echo Volume scroll bars for the left and right channels move together.124 CHAPTER 8 Effects Menu – Edit View Echo dialog Achieve effects ranging from a Grand Canyon-type “Hello-ello-llo-lo-o” to “boingy” drain pipe sounds by varying the delay amount. When the Lock Left/Right box is checked. the Decay. For example. . • Delay sliders are used to specify the number of milliseconds that is placed between each echo. Delay. shiny high-end) to one that is almost totally absorptive (very little reflected high-end sounds) by equalizing the delays. Echo Characteristics The following characteristics can be applied to echoes. • Lock Left/Right: With stereo waveforms.

Make sure there is enough silence at the end of the waveform for the echo trails to complete. and this echo will naturally decay beyond the selection boundary. undo the Echo effect. Since Adobe Audition’s Previews are dynamic. you can’t increase the attenuation of frequencies with Successive Echo Equalization. the selected range will be echoed. the echoing will stop before the range or file ends. the settings for each channel will bounce to the other. Otherwise. along with the placement of virtual microphones. . Keep in mind that the more echoes there are to calculate. and 0% for the other. Presets Several Echo presets come with Adobe Audition. The number of echoes is adjustable. Sounds that extend beyond this boundary will not be affected. If the echo abruptly cuts off before it fully decays. while unselected sounds will not be echoed. the echo effect will stop at the right-most waveform boundary visible in the waveform window. Successive Echo Equalization This eight-band echo “quick filter” enables you to choose which frequencies are removed from the echo first. And. add several seconds of silence using Adobe Audition’s Generate > Silence command. the echo effect continues beyond the right-hand boundary of the waveform’s selected range.000. The selection is looped until you press the Stop button. Echo Chamber The Echo Chamber function can simulate the ambiance of almost any room. the longer it will take for the function to complete. while a slider’s maximum setting of -15 will decrease that frequency by 15db. If you want to create one echo that bounces back and forth. If the box isn’t checked. creating two sets of echoes on each channel. you may only decrease them. allowing for control in simulating the natural sound absorption of a room. Preview Press the Preview button to audition the current Echo setting before you apply it to the waveform. since it would be -15dB for each successive echo. More information on presets can be found in the “Looking at the Work Area” chapter. this gives you the opportunity to make and hear processing adjustments as the selection is continuously played. Settings are provided for specifying your virtual room’s size and surface characteristics. In other words. some frequencies will die out much faster than others.ADOBE AUDITION 125 User Guide • Echo Bounce: Select this option to make the echoes bounce back and forth between the left and right channels. Continue echo beyond selection When this box is checked. This means if the window is zoomed in. and then rerun the Echo effect. Each successive echo is passed back through the equalizer. up to about 25. select an initial echo volume of 100% for the one side (left or right). A setting of zero will leave the frequency band unchanged. Note: Unlike most other equalizer-like controls.

whereas 15% would be better for 1.000 echoes. the “truer” the result will sound. use at least 10. . you may want to generate only 100 or so echoes. For example. if your stereo speakers are 6 feet apart. but memory requirements will grow as room size increases. The more echoes that are generated. stereo expansion effect may be created by placing the two microphone locations far apart. depending on the virtual room size and available memory.000 echoes. (There are approximately 0. This means that some systems may run out of memory if very large room sizes are used. further apart in the settings than if you were playing them through speakers in real life. the lower the Intensity value should be set. you should always set Intensity to under 100% to avoid clipping. are specified here. Room Size (feet) The length. as measured in feet. they must lie between zero and the room’s width for the Dx From Left Wall parameter. In fact. A very fast system should be able to generate up to 100.) When entering source and microphone locations. Choosing a “left” microphone placement that is one or two feet away from the “right” microphone will simulate a listener’s ears and will give the effect of “being there”. Because echoes (picked up by the virtual microphone) add to the signal’s overall amplitude.126 CHAPTER 8 Effects Menu – Edit View Echo Chamber dialog One cool use for this function is to give a stereo effect to monaural audio by adding ambiance. width. Room sizes can be as large as you like. To achieve a nice reverberating ambiance effect. try placing the left and right virtual microphone settings 20 or 30 feet apart.000 echoes produce a very realistic result In order to reduce wait time when testing out a virtual chamber’s size and overall room sound. you can undo the test effect and increase the number dramatically for the final production. but larger numbers of echoes require more processing time. Once you achieve the sound you want.3 meters per foot. and between zero and the room’s length for the Dx from Back Wall parameter. 25. Echoes This is the number of actual echoes to produce. For example. A spatial. Intensity This determines the percentage of amplitude of the direct (original) signal. (Try monitoring the result with headphones to experience the best effect. and height of the virtual room.000 echoes. a setting of about 30% would be appropriate for 100 echoes.) Make sure you use Edit > Convert Sample Type to make the mono signal stereo that you can choose separate virtual microphone locations. the more echoes there are.

floor. Dx from Back Wall. up to two virtual mike pickups can be used. The distance between the source and the walls affects which frequencies are enhanced and is crucial to the overall ambient effect.) The signal will then simulate a single. where you will hear the sound only (due to its loudness). which represents complete sound absorption (no reflecting surface).0 is the highest. the stereo effect will be dramatically enhanced and sound fuller and often richer when this box is unchecked. Place the virtual microphones in a stereo setting one foot apart to simulate human ears. is still accurate. To give more control over the environment. however.ADOBE AUDITION 127 User Guide Damping Factors Use damping factors to describe the type of virtual room in which the audio is being played.0. You can also lower the damping factor of some of the walls to simulate other objects in the room. Note: Make sure you always place the virtual microphone(s) sufficiently far away from the source.05. in the Dx (Distance) from Left Wall. If the microphone and source are too close together. and Dx Above Floor fields. This does. Mix Left/Right Into Single Source When working with stereo audio. floor coverings. This is analogous to placing your ear right next to the sound source. like 0. check this option. A damping factor of 1. If you use a values greater than the dimensions of the room (a Dx Above Floor of 21 feet in a room with a Height of 20 feet. Use the Dx (Distance) values in conjunction with Room Size values to determine exact 3D placement. you will just hear the source and no echoes. heavy draperies. If a wall has a damping factor of 1. but great effects can still be achieved (and they're much more realistic than those of basic Echo functions). Signal and Microphone Placement (feet) • Source Signal: Enter the desired values of the Source Signal (your waveform or selection). in real life. simulating total reflectivity. or sound proofing panels). For example. but in this simulation all frequencies are reflected equally. Try listening with headphones to virtual microphones that have been placed far apart. The effect of speaker placement enhancing or canceling certain frequencies.0 is the lowest. which effectively absorb some of the audio. and ceiling. (When using a stereo waveform. If a wall has a very low damping factor. The placement of and distance between the mikes gives the brain cues about the directions of each echo and the size of the room. require twice as many calculations as a single audio source. Each microphone is routed to its own respective channel of a stereo audio file. and other objects in the room that absorb sound. Depending on whether the waveform is mono or stereo. for example). . • Microphone Placement: Enter the desired virtual microphone values. though. and Dx Above Floor fields. meaning that the sound will radiate outwards in all directions. In most instances. measured in feet. the fact that cement reflects high frequencies better than low ones isn’t accounted for. it will absorb most of the sound (like carpeting. non-directional point source. Granted. If faster processing is desired. The resulting echoes are exactly what the microphone(s) would pick up in the room at the specified location. Adobe Audition will use the greatest possible value (20 feet in this case). in the Dx (Distance) from Left Wall. various objects absorb different frequencies. there are actually two source signals (left and right) that can be placed independently. apply damping factors to any of the four walls. These factors can simulate wall coverings. while a factor of 0. this gives a very large “aural” or “spacey” feeling to the sound. you can have different values for both the left and right channels. it is totally reflective (rather like cement). Dx from Back Wall. which will sum the left and right channels of a stereo waveform before routing it to the effects processor. measured in feet.

.Delayed Slider Use this control to adjust the mix between the amount of original (dry) and flanged (wet) signal. add several seconds of silence using Adobe Audition’s Generate > Silence command. undo the Echo Chamber effect. and then physically slowing down the reels of one machine. If the echo abruptly cuts off before it fully decays. and then rerun the Echo Chamber effect.128 CHAPTER 8 Effects Menu – Edit View Damping Frequency The Damping Frequency value lets you specify an upper frequency limit of sound that will be reflected. If the Delayed signal is set to 100%. If the Original value is at 100%. characteristic of some of the psychedelic sounding recordings in of the 1960s and 1970s. the result is a wavering sound. time delay effect. Flanger Flanging was originally achieved by sending an audio signal to two reel-to-reel tape recorders. More information on presets can be found in the “Looking at the Work Area” chapter. For instance. The selection is looped until you press the Stop button. The resulting sound is a phase-shifted. (If you’ve ever listened to “Listen To The Music” by the Doobie Brothers. Make sure there is enough silence at the end of the waveform for the echo trails to complete. Presets Several Echo Chamber presets come with Adobe Audition. Use lower values to get a “warmer” feel. Portions of both signals must be present if you want to achieve the characteristic cancellation and reinforcement that occurs during flanging. if you set a damping frequency of 7000Hz. Since Adobe Audition’s Previews are dynamic. you’ve heard flanging in action. then frequencies above 7000Hz will be cut for each unit of time.) Use Adobe Audition to create the same effect by slightly delaying and phasing a signal at predetermined or random intervals. the result is no flanging at all. Preview Press the Preview button to audition the current Echo Chamber setting before you apply it to the waveform. this gives you the opportunity to make and hear processing adjustments as the selection is continuously played. rather like a bad tape player. Flanger dialog Original .

Preview Press the Preview button to audition the current Flanger setting before you apply it to the waveform. Feedback The Feedback slider determines what percent of the flanged signal is fed back into the flanger. and Cycles (measured in cycles) settings refer to the rate at which the delay cycles between the initial delay and the final delay. Presets Adobe Audition comes with several Flanger presets. The delayed signal is summed while the leading signal is subtracted out. the transition is linear. Different settings can result in widely varying effects. so try experimenting with them to achieve the effect you want. For example. a setting of 0. If the Original . which are measured in degrees. thus creating a circular. . Final Mix Delay This control sets the point in milliseconds at which flanging will end behind the original. The selection is looped until you press the Stop button. Mode Three options are offered for mode: • Inverted: Check this box to invert the delayed signal when flanging. The flanging effect occurs by cycling over time from an initial delay setting to a second (or final) delay setting. It refers to the flange effect’s secondary (or final) delay setting. This causes the waves to cancel out periodically. With Sinusoidal checked. With no feedback. and the delays from the initial setting to the final setting are at a constant rate. Stereo Phasing This control lets you set the left and right delays at separate values. psychedelic effect. With feedback added. the signal is at the initial and final delays more often than it is between delays. the flanging will cycle from the initial delay to the final delay and back again four times per second. and end with the final delay. a setting of 180 puts the right channel at the initial delay value at the same time that the left channel is at the final delay value. instead of reinforcing the signal. For example. Special EFX. The Invert. Period (measured in seconds). this gives you the opportunity to make and hear processing adjustments as the selection is continuously played. This setting can reverse the initial/final delay settings for the left and right channels. Otherwise. If a frequency of 4 is chosen.5 cycles causes the effect to start with the initial delay.Expanded mix settings are set at 50/50.ADOBE AUDITION 129 User Guide Initial Mix Delay This slider sets the point in milliseconds at which flanging will start behind the original. the effect only uses the original signal. the effect uses a percentage of the affected signal from before the current point of playback. • Sinusoidal: If this option is chosen. • Special EFX: Selecting this box mixes both the normal and inverted flanging effects. and Sinusoidal options give you a lot of control over the flanging effect. Since Adobe Audition’s Previews are dynamic. with the flange being cycled between this and the Initial Mix Delay at a specified rate. More information on presets can be found in the “Looking at the Work Area” chapter. the waves will cancel out to silence whenever the delay is at zero. Rate The Frequency (measured in hertz). the transition from initial delay to final delay and back will follow a sine curve.

Because every parameter change (other than a mix level change) requires a new reverb “impulse” to be built. Once built. like Perception to simulate room irregularities. metallic. Full Reverb has some unique features not found in other reverbs. like Adobe Audition’s standard Reverb effect. but they are much more natural sounding and easier to tailor. nor will adjusting any of the mix level controls or the Include Direct checkbox. you may have to wait a few seconds after pressing Preview for the reverb generation process. This means it takes more CPU power to perform the reverberations. and source location to place the “singer” off-center. the preview should generally run in real time. General Reverb Tab Full Reverb dialog – General Reverb tab . However. Note: Whenever any of the reverb characteristics are modified. and have the early reflections realistically model their position within rooms that have acoustically desirable dimensions that you can customize. is used to simulate acoustic space. or other artificial sounding artifacts.130 CHAPTER 8 Effects Menu – Edit View Full Reverb Full Reverb. a new impulse is computed (which can be several megabytes in size) to simulate the environment you’re specifying. It’s also convolutionimpulse-based (like the standard Reverb). which means there are no ringing. and subsequent previews or pressing OK won’t require rebuilding the impulse. Practically any wall surface material or other sound-affecting factors can be simulated by changing the reverb’s frequency absorption using a 3 band “parametric EQ” style interface (in the Coloration tab). specific resonating can be achieved if desired (see Coloration).

If a reverb is too smooth. you’re free to fine-tune the length and attack time to change the effect. Low values will do a smoothly decaying reverb without any frills. Using low Diffusion values. certain frequencies may take longer to decay to 60dB. After these are set. while other frequencies may decay much faster. it may not sound natural. measured in milliseconds. However. and somewhat low Perception values with long reverb tails give the effect of a football stadium or similar arena. Interesting effects can be heard with extremely long attack times (like 400 milliseconds or more). Set Reverb based on Early Reflection Room Size For convincing sounding reverbs. walls. the tail length should be correlated with the feeling of room size given by the Early Reflections. without distinct “echoes” heard in them. connecting rooms. that it takes for the reverb to decay 60dB. Perception This value models irregularities in the environment (objects. measured in milliseconds. Lower values will produce more distinct echoes since the initial echo density will be lighter. Diffusion This setting controls the rate of echo buildup and how diffuse the echoes are. but also take longer to compute. and then decay at a much slower rate. Very interesting “bouncy” effects can be obtained by using low Diffusion values and high Perception values. Larger values will give more distinct echoes (coming from different locations). Values up to about 40 will give just enough variation to the reverb to simulate small room variations. . depending on the Coloration parameters.ADOBE AUDITION 131 User Guide Total Length This is essentially the time. Attack Time This is the time. that it takes for the reverb to build to its maximum amplitude.). but the density will build over the life of the reverb tail. etc. reverbs tend to build up over a short time span. High diffusion values (above 900) give very smooth reverbs. Pressing this button will adjust the Total Length and Attack Time to roughly match the room size given in the Early Reflections tab. The effective limit is about 6000 milliseconds (a 6-second tail). Longer values give longer reverb tails. Generally. The actual tail generated is much longer than this in order to allow for decaying into the background noise level.

High Pass Cutoff Very low frequency (less than 100Hz) instruments (such as bass or drums) can get phased out for small rooms when the early reflections mix with the original signal. say. A sonically appropriate height is calculated and reported below after Actual Room Dimensions. • If the cutoff setting is too low. Very nice effects are possible with singers being very slightly off center. Checking the Include Direct box in the Mixing section below will also adjust the Original Signal to sound as if it is coming from the same location by delaying one of the channels. as measured in cubic meters. These rooms generally sound louder because of all the echoes reflected off the narrow walls. bass frequency sound may disappear when using small room sizes. If you want to simulate a person being at one end of the hall or the other in a very wide room. The wider a room. To prevent the loss of low frequency sounds. The larger a room is. Use this control to create virtual rooms from only a few meters to giant coliseums. use the Location slider. • If the cutoff setting is too high. Extremely wide rooms are not very deep. Generally. Left/Right Location The source can be placed off-center to produce a different set of incoming early reflection echoes. the longer the reverbs are for that room.25 and 4 provide the nicest sounding reverbs.132 CHAPTER 8 Effects Menu – Edit View Early Reflections Tab Full Reverb dialog – Early Reflections tab Room Size This is the actual volume of the virtual room. Dimension The ratio between the room’s width (left to right) and depth (front to back) can be chosen with this slider. you may not get a realistic image of the room size. Very narrow rooms simulate a person being at the other end of a long hallway. . rooms with width-to-depth ratios between 0. use this slider to specify a frequency above that of the sound you wish to keep. between 5% and 10% left or right. the easier it is to hear the left/right location of the source.

Coloration Tab Full Reverb dialog – Coloration tab Amplitude Sliders The three amplitude sliders to the right of the graph correspond to the low shelf.ADOBE AUDITION 133 User Guide Good settings are generally between 80Hz and 150Hz. like to bring out a singer’s voice. and high shelf bands. For distinct resonance. A quick way to get a different sounding reverb is to just adjust these sliders up or down. Try boosting the frequencies just around the natural frequency of their voice to enhance resonance in that range – say. While the reverb length and attack can be adjusted later. Frequency Sliders (Low Shelf/Mid Band/High Shelf) These are the frequency sliders directly beneath the graph. in the 200Hz to 800Hz range. . it is advisable to click this button to set the reverb length and attack time to match the current room size. use values like 10 or higher. mid band. or the center frequency for the mid band. This will make for a more convincing listening experience. to “warm up” the reverb. Set Reverb Based on Early Reflection Room Size Once a room size and dimension are chosen. Sometimes it may be desirable to enhance some quality of the audio being processed. you might want to lower the High Shelf frequency while also reducing its amplitude. from left to right. For example. Q Box This value describes how wide the mid band’s affective area is frequency-wise. The cornering frequency for the shelves. For just general boosting or cutting a wide range of frequencies. Lower values affect a wider range of frequencies (hence higher values will narrow the effective range). this provides a starting point for experimentation. can all be set to any frequency desired. use lower values like 2 or 3.

this requires twice as many calculations as a single audio source. the lower the value. The Left/Right Location slider in Early Reflections determines the direction the audio will sound like it’s coming from when listened to with stereo headphones. Adobe Audition then sums the left and right channels of a stereo source file before routing it to the effects processor. Mixing Section Original Signal (dry) This slider adjusts the amount of Original Signal with respect to the other levels to give the feeling of distance between the listener and the source. When unchecked. Basically. • Use a low signal level to sound far away. Like the Early Reflec- tions volume. • Use a high level (near 100%) along with low levels for the other sliders to give the feeling of being close to the source. • If the mixing for this is set too low the audio cues for room size will be lost. • If the mixing for this is set too high though. the reverb sounds very unnatural. If you’re after faster processing time. the result will sound somewhat artificial. there are actually two source signals (left and right). If you know that both channels are identical (that is. check the Combine Source Left and Right box. if they originated from a monophonic sample). Reverb (wet) This controls the volume of the dense layer of sound usually associated with reverb. The balance between the reverb and the original signal gives the impression of distance. Include Direct With a stereo waveform. More information on presets can be found in the “Looking at the Work Area” chapter. If it’s too loud.134 CHAPTER 8 Effects Menu – Edit View ms Box This is the time. Early Reflections Since these are the echoes that first reach the ear. that can be placed independently. this slider should be fine-tuned to give a pleasing mix that gives the impression you are after. Generally about half the volume of the original signal is a good starting point. that it will take for the reverb to decay at each frequency following the coloration curve. For more colored reverbs. Presets Adobe Audition comes with several Full Reverb presets. checking this box will cause the original signal’s left and right channels to be phase shifted (delayed) slightly to match the direction of the incoming early reflections. However. use lower settings (like 100 to 250). Values up to 700 work fine. Combine Source Left and Right When working with stereo audio. . the more the graph affects the resultant reverberation. specified in milliseconds. they give the listener a feeling for the overall room size and dimension. you should definitely check this option to minimize processing time. so increase the reverb volume with respect to the original signal to make the source sound further away. the original signal and its respective reverberated signal remain in its own channel.

Multitap Delay dialog If one delay unit is placed inside another (as viewed in the chart above the controls) then the echo will occur more often than just once. The selection is looped until you press the Stop button. with any high or low cut filter. add several seconds of silence using Adobe Audition’s Generate > Silence command. Up to 10 delay units can be created. you can achieve some very interesting effects. and then rerun the Full Reverb effect. If the reverb abruptly cuts off before it fully decays. Since Adobe Audition’s Previews are dynamic. undo the Full Reverb effect. each with their own delay. As audio travels down the delay line (represented in the chart by the bottom horizontal arrow pointing to the right) portions at any point can be fed back into the delay line anywhere behind the given offset and at any feedback amount. and Reverb effects. . Make sure that there is enough silence at the end of the waveform for the reverb trails to complete. With experimentation. feedback. Filter.ADOBE AUDITION 135 User Guide Preview Press the Preview button to audition the current Full Reverb setting before you apply it to the waveform. Echo. Multitap Delay Multitap Delay can be described as a combination of Delay. this gives you the opportunity to make and hear processing adjustments as the selection is continuously played. and filtering settings.

audio from the destination of the delay loop is mixed back into audio from the originating delay offset. Instead of going one way (from the offset back a certain number of milliseconds). It is then mixed into an earlier point in the delay line. When turned on. With a low-cut filter. the final echo pattern could become very complex. Click on a delay unit in the list to adjust the Delay Settings sliders for that particular Delay Unit. in milli- seconds. This setting is handy when designing reverb effects. Longer delays give more distinct echoes. Low-Cut and High-Cut Filters Audio being fed back into the delay line can also be filtered before going back in. and the Remove button deletes the currently highlighted Delay Unit. the resulting audio will sound the same if they were at 100 and 400. The Add button creates a new Delay Unit with the current Delay Settings. • If the feedback percentage is extremely low. Click on a different delay unit in the list (or add a new one) to bring up the Delay settings for that particular delay unit. sometimes you may want this effect. However. definite ringing and true feedback will occur. You can create a maximum of 10 Delay Units. or “feedforward”. the low frequencies are reduced (or boosted) depending on the Cutoff and Boost settings. Very short delays give ringing or robotic sounding events. A single delay unit is much the same as the Echo function. For instance. . Offset Adjusts the point in the delay line from which Adobe Audition will take the audio. Keep in mind that it’s the relative positions of the offsets of the delay units that make a difference. not their absolute position. which is similar to the feedback you hear when a live microphone is set too close to a loudspeaker. With several delay units of varying delays added. then not very much of the original signal will be fed back into the loop. Feedback •Is the percentage of the original signal to feed back into the delay line. Delay Adobe Audition feeds audio back into the delay line after a certain delay. (It uses two sliding bands with variable cutoff points instead of 8 bands of filtering. This results in a very subtle effect. enable the Allpass Feedback option. This slider adjusts that delay.) Delay Settings These are the characteristics used for the delay settings of each delay unit. • If the feedback slider is set too high. The High-Cut filter can also cut or even boost the high frequencies. it also goes from the destination up to the source – a sort of forward feedback. which will cause echoing. but with a slightly different filtering setup. Each delay unit is represented in the graph above as a back-leading arrow starting at the Offset and going back the number of milliseconds stated under Delay. This will make each successive echo filtered slightly differently. The audio will get louder and louder until it clips and becomes distorted. for interesting effects.136 CHAPTER 8 Effects Menu – Edit View Delay Units This is a numbered list that displays the different Delay Units and their settings in the format: Delay [delay time] at [Offset] ([Feedback percentage]). Allpass Feedback To help prevent the DC component from getting out of hand (the waveform tending upwards or downwards until it clips). The difference between the offsets is what is important. The result is an echo with a period of the delay given to be generated. if you have two delay units at offsets of 200 and 500.

To spread out the effect in the stereo domain. • Boost is the amount of filtering to perform. at least one delay unit in the group should be cross-channel or singlechannel only. as more or less of the frequencies are affected by the filter. Boosting a low-cut filter while reducing the feedback setting is identical to reducing a high cut filter and increasing the feedback setting. • Stereo Swap: The delay effect for the left channel is mapped to the right channel and vice-versa • From Left to Right: The audio from the left channel is delayed and put onto the right channel • From Right to Left: The audio from the right channel is delayed and placed onto the left channel. However. More information on presets can be found in the “Looking at the Work Area” chapter. Presets Adobe Audition comes with several Multitap Delay presets. you can create interesting effects by entering positive values.ADOBE AUDITION 137 User Guide When designing a reverb. • Lower negative values result in more audio being cut. • Cutoff: Frequencies below this setting are affected by the Low-Cut filter. Boost settings are usually negative. it helps to cut some of the high frequencies to simulate absorption of the high frequencies by the surrounding walls. When echoing. • From Center to Surround: The audio from the center channel (the audio common to both left and right channels) is delayed and placed into the surround channel (the left channel inversed with respect to the right channel). The selection is looped until you press the Stop button. Frequencies above this setting are affected by the High-Cut filter. • Discrete Stereo: The delay effect appears on both channels of stereo audio. this gives you the opportunity to make and hear processing adjustments as the selection is continuously played. frequencies are generally not boosted. Preview Press the Preview button to audition the current Multitap Delay setting before you apply it to the waveform. . Channel Buttons Several options are provided for use with stereo source audio: • Left Only: The delay effect appears only on the left channel of stereo audio. Changes in the cutoff value affect the tone of the echoes. which means the audio is being cut or reduced in the affected frequency range. • Positive values result in boosted frequencies. • Right Only: The delay effect appears only on the right channel of stereo audio. Since Adobe Audition’s Previews are dynamic.

You can enter the exact frequency in the text box to the right. . You may also specify an exact value. This means it can be altered more quickly and effectively in Adobe Audition’s Multitrack real-time environment. However. Move the slider to the left if you want a reverb with more echo characteristics. since it isn’t convolution-based like Full Reverb and Reverb (which require more power to run. use higher numbers to create a larger virtual space. while positions right of center will produce a smoother reverberation with fewer echoes. measured in milliseconds. Decay The amount of reverberation decay is adjusted with this slider. The QuickVerb dialog Here are the major components of the QuickVerb dialog: Room Size Use this slider to set the size of the room you wish to simulate. High Cutoff Frequency This slider specifies the uppermost audio frequency at which the reverb effect can occur. Diffusion This setting defines the “texture” of the reverb. thus increasing the processing load on your system) QuickVerb is faster to use. Low numbers equate to a smaller room. Mixing The controls in this section determine the amount of reverb to mix in with the original audio source. The exact frequency may be entered directly in the text box to the right. in the text box to the right.138 CHAPTER 8 Effects Menu – Edit View QuickVerb Like Adobe Audition’s two other reverb effects (Full Reverb and Reverb). without the need for “locking” the effects to the track. Low Cutoff Frequency The lowermost audio frequency at which the reverb effect can occur is set with this control. QuickVerb allows you to add reverberation to your audio in order to simulate a different acoustic space. A text box is provided so that you can enter a value directly. or directly enter a value in the text box to the right.

or a grand amphitheater. and will have a warm and natural sound. so we’re happy to continue including it with new releases. and made to occur at such random times. It can reproduce such acoustic or “ambient” environments as a coat closet. Reverb Reverb is an effect used to simulate acoustic space. initial early-reflection delays can be used to give a sense of room size. So what’s the difference between Adobe Audition’s Reverb and Full Reverb effects? Full Reverb is the newer of the two. Presets Adobe Audition comes with several QuickVerb presets. and provides more options and better audio rendering.ADOBE AUDITION 139 User Guide • Set the percentage of source audio to leave in the effect using the Original Signal (dry) slider. and consists of both early reflections and echoes that are so closely spaced that they’re perceived as a single decaying sound. More information on presets can be found in the “Looking at the Work Area” chapter. depending upon the initial delay times. a concert hall. The selection is looped until you press the Stop button. many folks still use and prefer the older Adobe Audition Reverb effect. However. • Set the percentage of reverb to place in the effect using the Reverb (wet) slider. Reverb is different from the basic Echo effect in that the delays aren’t repeated at regularly spaced intervals. that the signal’s reverberated “trail” will decay smoothly over time. this gives you the opportunity to make and hear processing adjustments as the selection is continuously played. These echoes can be spaced so closely together. Preview Press the Preview button to audition the current QuickVerb setting before you apply it to the waveform. Since Adobe Audition’s Previews are dynamic. or type in the percentage directly in the text box to the right. Reverb dialog Adobe Audition’s Reverb function can create a wide range of high-quality reverb effects. which can be either large or small. a tiled bathroom shower. . or type in the percentage directly in the text box to the right. Alternatively.

• Slower times (especially over 1000 milliseconds) simulate rooms that are emptier. Perception This parameter gives subtle qualities to the environment by enabling you to change the characteristics of the reflections that occur within a room. In general. Use this slider to simulate this natural absorption so that the high frequencies are reduced in level during the reverb’s decay time. the attack time should be smaller. Attack Time The amount of time it takes for the reverb to gain full strength is known as the attack time. where higher frequency reflections are more prevalent. higher values (up to 60%) simulate large rooms. that it takes for the reverb signal to trail off to infinity (about -96dB). • With lower values. For instance. a value of about 10% of the total reverb time works well. you can create interesting and subtle effects by using longer attack times with shorter reverb lengths.140 CHAPTER 8 Effects Menu – Edit View To simulate specific rooms that have both echoes and reverb. like night clubs or theaters. conversely. • Use values between 400 and 800 to simulate medium sized rooms. High Frequency Absorption Time In acoustic environments. This function can create a sense of spaciousness in a monophonic signal (one that has been recorded as or converted into a stereo audio file). Total Reverb Length This is the time. . Generally speaking. or. use Adobe Audition’s Echo effect first to get the “size” of the room sound. higher frequencies tend to attenuate faster than lower frequencies. the reverb is “smoother” and doesn’t have as many distinct echoes. For short reverb times. setting Total Reverb Length to 3000 milliseconds will give you the reverb trails of giant amphitheaters. in milliseconds. However. and then use Reverb to make it sound more natural. by combining very short attack times with long reverb lengths. lower values (down to 0%) simulate smaller rooms. • Faster absorption times simulate rooms that are occupied and have furniture and carpeting. In general. • Use values above 800 to simulate concert halls. • Use values below 400 to create a small room environment. Even a Total Reverb Length as little as 300 milliseconds can open up the perceived spaciousness of a dry sound (one that was recorded without any effects or reverb). • Higher values cause more variation in the reverb amplitudes and add more spaciousness by creating distinct reflec- tions over time. like gymnasiums or auditoriums.

add several seconds of silence using Adobe Audition’s Generate > Silence command. Since Adobe Audition’s Previews are dynamic. a value of 90% or so should work well. this gives you the opportunity to make and hear processing adjustments as the selection is continuously played. the wet amount should ordinarily be lower than the dry signal to add spaciousness to a track. Mixing The Mixing section provides the following options: Original Signal (dry) This setting determines how much of the unprocessed (dry) signal is mixed into the final output. In modern production. In most cases. • When unchecked. Presets Adobe Audition comes with several Reverb presets. the lower the original signal volume should be. a Phaser introduces a variable phase-shift to a split signal and recombines it. that can be placed independently. Make sure that there is enough silence at the end of the waveform for the reverb trails to complete. keep the dry signal higher. This does. • When this box is checked. To add spaciousness to an instrument. however. Adobe Audition sums the left and right channels of a stereo source file before routing to the effects processor. try reducing both the dry and the reverberated signal strength. Combine Source Left and Right When working with stereo audio. However. you might want to reduce the volume of the original signal. More information on presets can be found in the “Looking at the Work Area” chapter. and then rerun the Reverb effect. if they originated from a monophonic sample). Reverb (wet) This setting determines how much of the reverberated (wet) signal is mixed into the final effect output. require twice as many calculations as a single audio source.ADOBE AUDITION 141 User Guide A setting of 100 and a reverb length of 2000 milliseconds or more creates interesting canyon effects. If the reverb is so great that audio begins to clip. If you're trying to achieve a special effect with reverb. so you can check this option for faster processing. undo the Reverb effect. The Sweeping Phaser sweeps a notch or boost type filter back and forth about a center frequency. . creating special effects popularized by guitarists of the 1960s. there are actually two source signals (left and right). Sweeping Phaser Like the Flanger effect. In general. you may want to increase this amount to simulate physical distance from the audio source (where reverb is heard in greater proportions to the original signal). If you know that both channels are identical (that is. you should definitely check this option to minimize processing time. The selection is looped until you press the Stop button. or at 100%. the original signal and its respective reverberated signal remain in its own channel. If the reverb abruptly cuts off before it fully decays. Preview Press the Preview button to audition the current Reverb setting before you apply it to the waveform. the more reverb you add.

Period (milliseconds). (Entering 240 for a song with a tempo of 120 would sweep in eighth notes. and Tempo (beats per minute). Values are given in Hertz (Hz). covering the dynamic range specified by the Depth setting. which is a ratio of width to center frequency. Depth This setting determines the degree of phasing. enter the BPM of the music. You can adjust the rate with the slider. Filter Characteristics Sweep Gain This slider lets your apply variable amounts of Sweep Gain. Frequencies closer to the middle of the dynamic range of the selected audio will produce more dramatic results. Sweeping Rate The Sweeping Rate is the speed at which the filter sweeps around the center frequency. for instance. Resonance This is the amount of phase-shift that is applied to the signal. frequencies are phase-shifted over time. except that instead of using a simple delay. The value is given as a Q value. or enter a value directly into one of the text boxes. When used on stereo files. or a fraction of it. producing a wider tremolo effect. Take care to avoid clipping when applying higher positive values Center Frequency This is the frequency around which the phase will sweep.) . for example. To have the sweep occur in time with a song. which is a ratio of width to center frequency.142 CHAPTER 8 Effects Menu – Edit View Sweeping Phaser dialog A phase is similar to a flange. which is the gain applied to the phased signal. You can think of it as a “strength” setting for the phase. The value is given as a Q value. Greater Depth settings cause the sweep to extend farther away from the center frequency in both directions (covering a greater frequency range). the stereo image can be dramatically altered to create some truly interesting sounds. or cycles per second.

since it gives you the traditional sound of a sweeping phaser.ADOBE AUDITION 143 User Guide Stereo Phase Difference This is the degree which the sweep interval is shifted between the channels of a stereo waveform. You can compensate for loss. constant fashion. A low negative number (such as -45) is the same as a high positive number (315). No problem! Any DirectX audio plug-in can be used from within Adobe Audition. and -5 and 355 refer to the same amount of degrees. In other words. Since Adobe Audition’s Previews are dynamic. Sweep Modes These settings determine the shape of the filter sweep used. introduced by the effect by entering an overall master gain (measured in dB) to be applied to the resulting audio. • The Sinusoidal and Triangular options determine if the sweep will follow a sine or triangle curve. it will automatically appear in the Effects > DirectX cascading menu. 90 and -270 mean the same thing. this gives you the opportunity to make and hear processing adjustments as the selection is continuously played. More information on presets can be found in the “Looking at the Work Area” chapter. The selection is looped until you press the Stop button. • The Log Frequency Sweep and Linear Frequency Sweep options determine if the sweep will be done in a logarithmic. If you choose the Low Pass option. Master Gain This value adjusts the overall volume output. or other particularities. Presets Adobe Audition comes with several Sweeping Phaser presets. When correctly installed. Note: Most folks will want to use the Band Pass option. The default value of 0dB represents no master gain adjustment. anything found in the plug-in’s Properties area). Triangle curves will tend to be sharper. Using a DirectX plug-in works the same as any other Adobe Audition effect. Most plug-ins have a settings dialog where you can tweak the parameters of the effect before applying it to the selected region of the waveform. A value of 180 yields a complete difference. DirectX We’d like to think that Adobe Audition has every audio effect any user will ever need. the Sweeping Phaser effect will keep everything from the specified Center Frequency down. Both positive numbers (from 1 through 359) and negative numbers (from -1 through -359) may be entered in this field. but some folks like to augment Adobe Audition’s processing power with DirectX (sometimes called ActiveMovie) audio plug-ins from other software companies. 180 and -180 are the same value. Some plug-ins may support real-time preview. or excessive gain. all variation is done around the frequency designated by the Center Frequency slider. Filter Type With the Band Pass option selected. Values farther away from 0 or 360 cause the sweep to occur at increasingly distant intervals between the left and right channels. You’ll need to consult the documentation provided by the plug-in manufacturer for any help with its proprietary features (that is. or an even. Preview Press the Preview button to audition the current Sweeping Phaser setting before you apply it to the waveform. linear fashion. .

.144 CHAPTER 8 Effects Menu – Edit View Filters Use filters to modify a signal’s frequency content. The x-axis (horizontal) ruler represents the length of the selection. the first part of an audio file can have a certain EQ profile (a mix of certain frequencies boosted or cut. while the y-axis (vertical) ruler represents the dB level that’s boosted or cut. you get a new envelope that determines the delay. Gain Tab Use the graph control in the Gain window to adjust the amount of amplitude or attenuation the Dynamic EQ effect uses. Dynamic EQ dialog Dynamic EQ is especially cool when used as a real-time effect in the Multitrack View. as well as gain and bandwidth adjustments) while the middle and final portions of the audio file can have a completely different EQ profile. Note: For more information about Adobe Audition’s graph controls (such as how to add and remove control points). see the “Looking at the Work Area” chapter. and Q (bandwidth). For instance. Frequency Tab The graph control in the Frequency window is used to set the EQ frequency. Frequency. Dynamic EQ Dynamic EQ allows you to change the amount of equalization over the length of the waveform. The Dynamic EQ dialog provides three tabbed areas for adjusting Gain. The effects in this menu can be used to alter an audio file or selected range’s frequency content in many different ways. while the y-axis (vertical) ruler represents the frequency that’s boosted or cut. The x-axis (horizontal) ruler represents the length of the selection. If you add Dynamic EQ (or Dynamic Delay which has a similar principle) to the Multitrack View. Each area uses a graph control for adjusting parameters.

Frequency. Instead. while the y-axis (vertical) ruler represents the frequency that’s boosted or cut. a band) while removing all other frequencies. removing all Control Points. so the dynamic changes to your equalization are graphed across the whole selection. When you use spline curves. the line won’t ordinarily travel directly through the control points. click to create more control points near the point in question. • Check the Automated box in the Frequency section of the Multitrack View version of the Dynamic EQ dialog to draw the Frequency curve using a pink envelope on waveform blocks. Note: You must have View > Show FX Parameter Envelopes in Multitrack View turned on in order to use parameter automation.ADOBE AUDITION 145 User Guide Q (Bandwidth) Tab The Q (bandwidth) window’s graph is used to adjust the amount of Q used by the Dynamic EQ effect. Since Adobe Audition’s Previews are dynamic. More information on presets can be found in the “Looking at the Work Area” chapter. • Band Pass: This mode preserves a range of frequencies (that is. The selection is looped until you press the Stop button. Spline Curves Check this box – which appears in each of the Gain. and Q (bandwidth) tabbed windows – to reset the curve to its default state of an unchanged signal. and Q (bandwidth) tabbed windows – to generate a smoother. • Check the Automated box in the Gain section of the Multitrack View version of the Dynamic EQ dialog to draw the Gain curve using a yellow envelope on waveform blocks. Presets Adobe Audition comes with several Dynamic EQ presets. the closer the spline curve will be to those points. the points control the shape of this curve. . Loop Graphs When this box is unchecked. Flat Press the Flat button – which appears in each of the Gain. The more control points there are clustered together. Use Spline Curves when you want very smooth curves instead of straight lines (with their discontinuities at the control points). • High Pass passes high frequencies and removes low frequencies. so they loop repeatedly over the course of the selection. it supports parameter automation. Filter Type Three types of filters are offered: • Low Pass passes the low frequencies while rejecting (or removing) high frequencies. this gives you the opportunity to make and hear processing adjustments as the selection is continuously played. Preview Press the Preview button to audition the current Dynamic EQ setting before you apply it to the waveform. Frequency. Automated When using Dynamic EQ as a real-time effect in Multitrack View. the graphs are only as long as specified in the Graph Duration field (which is enabled when Loop Graphs is checked). best fit curve instead of a straight line between control points on the graph. the graphs are the same length as your selection. To get the curve closer to a control point. The x-axis (horizontal) ruler represents the length of the selection. If you check Loop Graphs.

146 CHAPTER 8
Effects Menu – Edit View

FFT Filter
The graphic nature of the FFT (Fast Fourier Transform) Filter makes it easy to draw curves or notches for rejecting or boosting specific frequencies. Use it to create band-pass filters (which keeps only a certain band of frequencies), high/low-pass filters (for reducing or eliminating the low or high-end frequencies), narrow-band pass filters (to simulate the sound of a telephone call), or notch filters (which eliminate very narrow frequency bands).

FFT Filter dialog

The noise level of the FFT Filter is lower than that of 16-bit samples, so when processing audio at 16-bit resolution or lower, there should effectively be no extra noise induced by the FFT Filter. For example, the stop band noise of a Blackman window will be below the -96dB mark. For optimal results, filter using 32-bit samples. If your source audio is 8-bit or 16-bit, try converting to 32-bit to do the filtering, and when done, you can convert back to the lower resolution with dithering. This will produce better results than processing at lower resolutions, especially if more than one transform will be performed on the audio.
Passive/Logarithmic Buttons Select Passive mode to express frequency changes (boosts or cuts) in terms of percentages, where a setting of 100% represents no change. Select Logarithmic mode when you want to express changes in terms of dB, where 0dB represents no change.

ADOBE AUDITION 147 User Guide

View Initial Filter Graph/View Final When the Lock to Constant Filter box isn’t checked, you can choose both an Initial

and a Final filter setting. Filtering will gradually go from the initial state to the final state. The rate at which the filter migrates from the initial to final settings depends on the Transition Curve settings. Note: For more information about Adobe Audition’s graph controls (such as how to add and remove control points), see the “Looking at the Work Area” chapter.
Log Scale Choose this option to display the x axis (frequency scale) logarithmically rather than in linear fashion. When

Log Scale is checked, the graph represents the frequency curve more closely to the way the ear hears sound.
• To do finer editing in low frequencies, leave Log Scale checked. • For detailed high frequency work, or work with evenly spaced intervals in frequency, uncheck this option. Spline Curves Check this box to generate a smoother, best fit curve instead of a straight line between control points on

the graph. When you use spline curves, the line won’t ordinarily travel directly through the control points. Instead, the points control the shape of this curve. To get the curve closer to a control point, click to create more control points near the point in question. The more control points there are clustered together, the closer the spline curve will be to those points. Use Spline Curves when you want very smooth curves instead of straight lines (with their discontinuities at the control points).
Flat Press the Flat button to reset the curve to its default state of an unchanged signal, removing all Control Points. Max/Min These boxes allow you to enter a maximum and minimum value for the graph’s y axis. Adobe Audition displays

the values in the ruler to the right of the graph. These settings affect the maximum boost or cut that the frequency curve represents.
FFT Size The FFT Size parameter specifies the size of the FFT to use (represented as a power of two), which can affect processing speed and quality. For cleaner sounding filters, use higher values. Recommend values are between 1024 and 8192.

Use lower values (512 or so) when tweaking your filter for faster Preview response. When you have the settings the way you want them, switch to a higher FFT size for better quality when processing.
Windowing Function The windowing function determines the amount of transition width and ripple cancellation that

occurs during filtering, with each one resulting in a different frequency response curve. These functions are listed in order from smallest width and greatest ripples to widest width and least ripples. The filters with the least ripples are also those that more precisely follow the drawn graph, and have the steepest slopes, even though they are wider, and pass more frequencies in a band-pass operation. The Hamming and Blackman filters give excellent overall results. Try different windowing functions if you these don’t give you the effect you want.
Lock to Constant Filter Check this option to apply a constant filter to the waveform. Uncheck it to choose both an initial and a final filter setting. The rate at which the filter migrates from the initial to final settings depends on the Transition Curve settings.

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Morph If Morph is checked, the transition from the initial filter settings to the final filter settings will actually “morph””

from one to the other. If this is not checked, the settings simply change in linear fashion over time. For example, if you leave Morph unchecked and have a spike at 10kHz for the initial filter and a spike at 1kHz for the final filter, the spike at 10kHz will gradually decrease, and the spike at 1K will gradually increase over time. However, frequencies between 1kHz and 10kHz won’t be affected. If morphing is on, the spike itself will “ooze” from 10kHz down to 1kHz, passing many of the frequencies in between. For a cool example of morphing, try choosing Passive mode, and set an initial curve with the first half at 100%, and the second half at zero. For the final curve, set the right 1/10th or so at 100% with the rest at zero. This selects high frequencies for the initial configuration, and low frequencies for the final configuration. To get a nice blending from high to low, choose Morph to include all the frequency combinations between the two filters. To see exactly what’s happening as the filtering changes from the initial configuration to the final, push the Transition Curve button to view the actual settings that will be used over the duration of your selection. Morphing is generally any technique used to transform one object into another. In the case of filter settings, it is a way to smoothly transform one setting (represented by a graph) to another by estimating all the possible combinations of the two settings. Over time, the first setting becomes the second. At some point, the setting will stop looking like the initial configuration, and start looking like the final configuration. In the filtering world, this means that frequencies between the ones selected to be filtered will also be filtered. In migrating from the initial to the final filter configuration, the points in the “in-between” settings are just the average between the two settings. For example, a filter setting exactly between the initial and final would be the exact average of the initial and final filter settings.
Precision Factor This value determines how accurately you want to filter over time when separate initial and final settings are used. A larger number (low factor) means the filter settings will change roughly, or in chunks, from initial to final, while smaller numbers (higher factor) will make the transition much smoother. In any case, the higher the precision factor, the longer it will take to filter your selection, but the nicer it will sound.

Since the FFT function takes a large group of samples, and filters them all at once, the precision factor determines how many samples from the entire group will actually be saved. A factor of 2 means that half of the samples are saved, while a factor of 10 means that 1/10 of the samples are saved. Since there can be only one filter setting for the entire group of samples, you may want a more accurate (or smaller) setting if the EQ curve varies wildly over short periods of time.

ADOBE AUDITION 149 User Guide

FFT Filter Transition Curve dialog Transition Curve Select this button to open the Transition Curve window. It displays a graphical representation of the transition from initial to final filter settings. The top graph shows time along the x axis (with the left representing the start of your sample, and the right side representing the end), and where in the transition you are allowed the y axis (with 0% representing your initial filter, and 100% representing your final filter). All points in between are a combination of your initial and final filter arrangements. The readout below the graph displays the current x, y position of your mouse.

In the Transition Curve window, select from the following options:
• The Flat button in the Transition Curve window resets the curve to its default state of an unchanged signal, removing

all Control Points.
• Check this Graph response at point option to have the bottom graph update in response to your mouse position in

the top graph. The bottom graph shows the filter at any given point in the transition (provided the Graph response option is checked), and corresponds directly to the position of the mouse in the top graph (click, or click and drag to update the view). Watch how the filter settings change as you move your mouse up and down in the top graph. Depending on the position you select, you can decide whether you want a morphing transition, or a linear transition. Each type of transition will give different filter settings for the points between your initial and final filter settings. For more information about Adobe Audition’s graph controls (such as how to add and remove control points), see the “Looking at the Work Area” chapter.
Presets Adobe Audition comes with several FFT Filter presets. More information on presets can be found in the

“Looking at the Work Area” chapter.
Preview Press the Preview button to audition the current FFT Filter setting before you apply it to the waveform. The selection is looped until you press the Stop button. Since Adobe Audition’s Previews are dynamic, this gives you the opportunity to make and hear processing adjustments as the selection is continuously played.

150 CHAPTER 8
Effects Menu – Edit View

Graphic Equalizer
With the Graphic Equalizer, you can boost or cut the signal at particular frequency bands, and have a visual representation of the overall EQ curve. Unlike the Parametric Equalizer, the Graphic Equalizer uses preset frequency band controls for quick and easy frequency equalization.

Graphic Equalizer dialog (30 Bands tab)

Adobe Audition’s Graphic Equalizer is implemented as an FIR (Finite Impulse Response) filter, which maintains phase errors over the response curve, unlike IIR filters which can have phase error (often audible as a ringing quality). This means that to gain higher accuracy in the lower frequencies, a higher accuracy (the size of the FIR filter) must be used. The bands can be spaced at either one octave, one-half octave, or one-third octave intervals, with the appropriate Q setting such that if adjacent bands are boosted, the result has no drop outs at intermediate frequencies.
Bands Tabs The Graphic Equalizer bands are spaced at either one octave (10 band), one-half octave (20 band), or one-

third octave (30 band) intervals. Select the appropriate tab to access the number of EQ bands you need. As you might expect, the 10-bands mode offers more general equalizing, while choosing 20 or 30 bands will let you zoom in on specific frequency ranges more precisely. Other than the number of bands, the controls in each tabbed Graphic Equalizer window are identical.
Reset All to Zero This button sets all sliders to 0dB so there’s no equalization. Band Use this drop-down list to select the band that’s to be modified with the value entered in the Gain box to the right.

ADOBE AUDITION 151 User Guide

Gain This is where you enter the exact value for the gain (measured in dB) being used in the chosen band. Graph Actual Response Because this is an FIR filter, the response may not actually match the desired equalization curve

at lower accuracy levels. Press this button to see the actual response of the equalizer rendered in the window above the band sliders.
Accuracy Entering higher accuracy levels (longer FIR filters) in this text box will give better frequency response in the

lower ranges. Note: Higher values require more processing time, but you can use lower accuracy levels if you only want to equalize higher frequencies. If you are equalizing very low frequencies, you should probably raise the accuracy. Values between 500 and 5000 points work well.
Range This field defines the range of the slider controls. Enter any value between 4dB and 180dB. As a comparison, standard hardware equalizers usually have a range of 30dB to 48dB. Master Gain After the EQ settings have been adjusted, the overall volume level might be too loud or too soft. You can

compensate for this by entering an overall master gain to be applied to the resulting audio. The default value of 0dB represents no master gain adjustment.
Presets Adobe Audition comes with several Graphic Equalizer presets. More information on presets can be found in the

“Looking at the Work Area” chapter.
Preview Press the Preview button to audition the current Graphic Equalizer setting before you apply it to the waveform. The selection is looped until you press the Stop button. Since Adobe Audition’s Previews are dynamic, this gives you the opportunity to make and hear processing adjustments as the selection is continuously played.

Graphic Phase Shifter
The Graphic Phase Shifter lets you adjust the phase of a waveform by adding control points to a graph. The x-axis (horizontal edge) of the graph measures the waveform’s frequency content, while the graph’s y-axis (vertical edge) displays the degrees of phase to shift, with zero degrees representing no phase shift.

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Graphic Phase Shifter dialog

Note: For more information about Adobe Audition’s graph controls (such as how to add and remove control points), see the “Looking at the Work Area” chapter. Most surround sound stereo decoders do different things with audio depending on the phase relationship. If you’re trying to take advantage of surround sound, try making just one channel 90 degrees out of phase. This would play the audio on all channels when surround-sound decoded. If you make the left channel 180 degrees out of phase (this is the same as just inverting one channel), it’ll play on the rear speakers when decoded. You can create simulated stereo by creating a zigzag pattern that gets “zigzaggier” at the high end on one channel. Put two channels together that have been processed in this matter (using a different zigzag patterns for each) and the stereo simulation is more dramatic. (This would have the same effect as making a single channel twice as “zigzaggy”.) If you adjust the phase of one channel in just a small frequency band first, then use Flange or another Adobe Audition effect that depends on phase, you’ll get different results than with non-pre-phase-shifted audio.
Splines Check this option to generate a smoother, best fit curve instead of a straight line between control points on the

graph. When you use Spline Curves, the line will not ordinarily travel directly through the control points; rather, the points control the shape of this curve. Use spline curves when you want very smooth curves instead of straight lines (with their discontinuities at the control points). To get the curve closer to a control point, click to create more control points near the point in question. The more control points there are clustered together, the closer the Spline Curve will be to those points.
+/-360º Range When checked, the graph’s y-axis (vertical) ruler goes from +360 degrees (top) to -360 degrees (bottom).

but take longer to process. Check the Bypass box below to bypass the effect so that you can do a “before and after” comparison. you can remove a 60Hz hum while leaving all 59Hz and 61Hz audio untouched. So for interesting effects. For example. . Log Frequency Scale Check this option to represent the values of the graph’s x-axis (horizontal) ruler logarithmically. Note: Keep in mind that applying any phase shift to both channels simultaneously will result in a file that sounds exactly the same as it did before being processed when you’re listening in stereo. Log scale is how the ear hears. the values of the graph’s x-axis ruler are shown linearly from 0Hz to the Nyquist. If this option is unchecked. Octaves on the left take up much less width on the display than do octaves on the right. Preview Press the Preview button to audition the current phase shift settings before you apply them. This is because we cannot hear phase directly. Presets Several Graphic Phase Shifter presets are included. it’s best to process a single channel. so evenly spaced locations on the log scale represent what we hear as evenly spaced frequencies. Each octave occupies a fixed width on the display. Higher sizes usually lead to more precise results. Notch Filter This filter removes up to six user defined frequencies. Channel Use this drop-down list to choose the channel(s) you want to apply the phase shift to. More information on presets can be found in the “Looking at the Work Area” chapter.ADOBE AUDITION 153 User Guide Uncheck the box the have the y-axis ruler display values from +180 degrees (top) to -180 degrees (bottom). Flat This button resets the graph so that a straight horizontal line appears at zero degrees. FFT Size Select the desired FFT size (measured in points) from this drop-down list. in addition to standard telephone DTMF tones. Use this filter when you wish to remove very narrow band frequencies. You would use this mode to work at finer detail in the lower frequencies. All control points are removed except for the ones at the end of the line. even though it may be phase shifted all over the place.

no more than 60dB for Very Narrow. It’s recommended that you use no larger than 30dB attenuations for a Narrow setting. Both the lower and upper DTMF tone sets (those used in the telephone system) can also be filtered as well.154 CHAPTER 8 Effects Menu – Edit View Notch Filter dialog Tones to Notch Here you may select and enter up to six frequencies to notch. • When this box is checked. Any more attenuation for the given notch width will result in a wide range of neighboring frequencies being removed as well. Just check which set of tones you wish to filter. You can apply different amounts of attenuation for each frequency by unchecking Fix Attenuations to at the bottom of the Notch Filter dialog. enter the attenuation level (measured in dB) desired. They range from Narrow for a second order notch filter. Then. This is sometimes handy when preparing audio that could air on the radio. this gives you the opportunity to make and hear processing adjustments as the selection is continuously played. Preview Press the Preview button to audition the current Notch Filter setting before you apply it to the waveform. Presets Adobe Audition comes with several Notch Filter presets. Since Adobe Audition’s Previews are dynamic. . which is very specific. which can remove some side frequencies. to Super Narrow for a sixth order notch filter. all attenuation levels are the same. Notch Width This drop-down control lets you select from three notch width presets. The selection is looped until you press the Stop button. More information on presets can be found in the “Looking at the Work Area” chapter. Click in the checkbox to activate the box for entering a particular frequency (measured in Hz). and no more than 90dB for Super Narrow. • Uncheck the box to set individual attenuation levels for each of the frequencies. Fix Attenuations to This allows you to set attenuation levels.

To increase or decrease the lows (bass) at any time. with the parametric equalizer. you can boost a broad range of frequencies that are centered around 1000 Hertz (1kHz). just adjust the slider. even at the lower frequencies. or you can boost the low frequencies while simultaneously inserting a 60 Hz notch filter. For instance. Frequencies in the graph range from lowest to highest in a logarithmic fashion (evenly spaced by octaves). Q. with the curve representing the amplitude change at specific frequencies. it’s easy to boost just the bass at 40Hz to 45Hz. or enter a dB level in the box at the bottom of the slider. Adobe Audition’s Parametric Equalizer uses IIR filters (second order). They differ from equalizers that offer a specific number of frequencies and Q bandwidths (which determines how many overall frequencies will be affected by a single. Graph The graph depicts frequency along the x-axis (left and right) and amplitude along the y-axis (up and down). Low Shelf The slider directly to the left of the graph determines the Low Shelf amplitude in dB.ADOBE AUDITION 155 User Guide Parametric Equalizer Parametric equalizers are used for fine editing of frequencies within a sound. selected frequency control) in that they give you continuous control over the frequency. which are very fast and can give very precise resolution. and gain settings. . Parametric Equalizer dialog For example.

You should be aware that whenever a very narrow band is boosted. Width The Q or Width value (depending on the Constant Q/Width setting below) controls the width of the affected frequency band. adjust the Low Shelf Cutoff slider located directly below the graph. it will tend to “ring” or resonate at the audio at that frequency. Master Gain After the EQ settings have been adjusted. More information on presets can be found in the “Looking at the Work Area” chapter. or other unwanted low-frequency sounds. adjust the High Shelf Cutoff slider located directly below the graph.or low-end of the audio spectrum.or low-end of the audio spectrum. Intermediate Bands You can place up to five intermediate bands into the EQ circuit.156 CHAPTER 8 Effects Menu – Edit View Low Shelf Cutoff High and low pass filters cut the extreme high. To fine-tune the range of frequencies being boosted or cut. High Shelf The slider directly to the right of the graph determines the High Shelf amplitude in dB. for example. To fine-tune the range of frequencies being boosted or cut. With lower Q values (or greater Width values). only a very narrow band will be affected. hum. this gives you the opportunity to make and hear processing adjustments as the selection is continuously played. The horizontal sliders located below the Cutoff sliders control the center frequency at which the boost or cut will occur. You can also enter boost/cut amount (dB) in the entry box below each slider. which is ideal for notch filters where only a particular frequency needs to be removed. while reducing the highs) is often used to reduce hiss. while reducing the lows) is often used to reduce low-end rumble. This can be a Q value (which is a ratio of width to center frequency) or an absolute width value in Hz. This can be compensated for by entering an overall master gain (measured in dB) to be applied to the resultant audio. A frequency may also be entered in the box to the right of the slider. To increase or decrease the highs (treble) at any time. The vertical sliders in the upper right of the Parametric Equalizer window control the amount of boost or cut. Presets Adobe Audition comes with several Parametric Equalizer presets. or enter a specific frequency in the box to the right of the slider. Since Adobe Audition’s Previews are dynamic. Q values of 1 to 10 are used most often for general equalization. or enter a dB level in the box at the bottom of the slider. This gives you very fine control over the shape of the equalization curve. If a Q value is very high (above 100). and the like. but you may want to use Constant Width if. or enter a specific frequency in the box to the right of the slider. High Shelf Cutoff High and low pass filters cut the extreme high. The low pass (so named because it allows the low frequencies to pass. like a 60-cycle hum. no matter which frequency is being boosted. Constant Q is the most common setting. amplifier noise. The high pass (so named because it allows the high frequencies to pass. Preview Press the Preview button to audition the current Parametric Equalizer setting before you apply it to the waveform. Check the box next to a slider to activate the band and its corresponding volume slider. The selection is looped until you press the Stop button. just adjust the slider. . Constant Width/Constant Q This parameter describes a frequency band’s width. a larger range of frequencies will be affected. the overall volume level might be too loud or too soft. you want the length of ringing to be a constant.

of course. Lock L/R: This functions as a toggle to let you adjust channels together or separately. however. Final Settings When the Lock to these settings only box isn’t checked. Essentially.ADOBE AUDITION 157 User Guide Quick Filter Quick Filter is an 8-band equalizer can be easily customized to suit many filtering needs. The effect is close to an equalizer. Equalizer Bands Adjust these sliders to increase or decrease the frequency component specified beneath the slider. Master Gain This control adjusts the equalizer’s overall level. Lock to these settings only Equalize or vary settings with this option. but not quite. • Uncheck this box to select separate initial and final equalization settings. the waveform’s volume is increased as well. so that the selection can smoothly glide from the initial equalization setting to the final setting over the selected range. Sliders are provided for both the left and right channels of stereo waveforms. Click on the appropriate tab to change Initial and Final Settings. Use the Master Gain sliders to reduce the level before applying the effect. but it will also increase or decrease frequencies all the way down to the lowest band. choose this tab to select the initial EQ settings. this is a quick and easy function for changing the tone of your sample to make it more pleasing to the ears. It works much the same as a standard audio equalizer does. except that the bands act a bit differently. • Check this box to equalize the entire selected range with the setting shown. It will. Quick Filter dialog Initial Settings When the Lock to these settings only box isn’t checked. which could lead to clipping. choose this tab to select the final EQ settings. . Amplitude is shown above each slider. The highest frequency band will increase or decrease the high end. increase or decrease the high frequencies more than the low ones. Many times when you increase the EQ frequencies of a waveform.

The selection is looped until you press the Stop button.158 CHAPTER 8 Effects Menu – Edit View • With Lock L/R checked. Presets Adobe Audition comes with several Quick Filter presets. Similarly. Note: Boosting any of the frequencies to very high values may lead to clipping. To produce a semi low-pass filter. band reject (notch). you can create a high pass filter by reducing the lower frequencies. maintaining the same settings for each channel. More information on presets can be found in the “Looking at the Work Area” chapter. . • Uncheck Lock to adjust the channels separately. this gives you the opportunity to make and hear processing adjustments as the selection is continuously played. set the higher frequency scroll bars to -30 to cut out higher frequencies. Scientific Filters Adobe Audition’s Scientific Filters provide high-order IIR (Infinite Impulse Response) filters for precise band pass. Preview Press the Preview button to audition the current Quick Filter setting before you apply it to the waveform. or high or low pass filtering. Since Adobe Audition’s Previews are dynamic. You can create some very interesting effects by changing the initial and final equalization settings so that they can “morph” from one curve type to another (such as having a “bass-y” curve change to a flat one at the introduction of a song). the scroll bars for the left and right channels will move together.

Each filter is visualized on the Scientific Filters graph. Increase the graph’s display range by checking the Extended Range box. You must specify a cutoff point in order to determine the starting point at which the frequencies will be passed or rejected.ADOBE AUDITION 159 User Guide Scientific Filter dialog The four most common types of higher order filters are available: Bessel. Note: Some of the following functions are common to all four types of Scientific Filters. and how much the filter attenuates. Butterworth. and will reject any frequencies within the specified range. You must specify two cutoff points to define the edges of the band. depending on whether the Phase or Delay option is selected. You must specify two cutoff points to define the edges of the band. a band) while removing all other frequencies. and Chebychev 2. Band Stop Also known as a notch filter. High Pass This setting passes high frequencies and removes low frequencies. Chebychev 1. Low Pass This setting passes the low frequencies while rejecting (or removing) high frequencies. Butterworth is generally the best compromise between quality and desired precision. with one line showing frequency response (measured in dB) and the other displaying either phase (measured in degrees) or group delay (measured in milliseconds). while others apply to just certain filters. You must specify a cutoff point in order to determine the starting point at which the frequencies will be passed or rejected. Band Stop is the opposite of Band Pass. Band Pass This mode preserves a range of frequencies (that is. Each one has different characteristics for how steep the transition bands are (at the cutoff points). .

Stop Attn The Stop Band Attenuation control determines how much gain reduction is to be used when removing frequencies. very high orders can also have high levels of phase distortion. Pass Ripple/Actual Ripple Some high-order filter types give you the ability to choose the maximum allowable amount of ripple. this gives you the opportunity to make and hear processing adjustments as the selection is continuously played. However. The selection is looped until you press the Stop button. High Width In filters requiring a range (Band Pass and Band Stop). In filters requiring a range (Band Pass and Band Stop). this serves as the lower frequency. Ripple is the effect of unwanted boosting and cutting of frequencies near the cutoff point. Noise Reduction The effects in the Noise Reduction menu can be used to reduce background noise and general broadband noise without having an adverse effect on the overall quality of the originally-recorded signal. Presets Adobe Audition comes with several Scientific Filter presets.) If you choose a transition bandwidth. while Cutoff defines the lower frequency border. the overall volume level might be too loud or too soft. It is at this point that the filter will switch from passing to attenuating or vice versa. More information on presets can be found in the “Looking at the Work Area” chapter. Master Gain After the filter settings have been adjusted. High Cutoff In filters requiring a range (Band Pass and Band Stop). (Lower values have steeper slopes. this serves as the higher frequency. Transition Bandwidth Some filter types allow the specification of the width of the transition band.160 CHAPTER 8 Effects Menu – Edit View Cutoff This parameter defines the frequency serving as a border between passed and rejected frequencies. the more precise the filter (with steeper slopes at the cutoff points. while High Width defines the higher frequency transition.). Since Adobe Audition’s Previews are dynamic. Order The higher the order. the Order will be filled in automatically. . Preview Press the Preview button to audition the current Scientific Filter setting before you apply it to the waveform. this serves as the lower frequency transition. while High Cutoff defines the high frequency border. this serves as the higher frequency transition. and vice-versa. In filters requiring a range (Band Pass and Band Stop). etc. while Transition Bandwidth defines the lower frequency transition. You can compensate for this by entering an overall master gain (measured in dB) for both the left and the right channels to be applied to the resulting audio.

Click/Pop Eliminator is the effect to use. Click/Pop Eliminator dialog Use a high zoom level to isolate the click. You can correct an entire selection or instantly remove a single click if one is highlighted. See the Spectral Display area of Options > Settings > Display to adjust these parameters. If you want to clean up vinyl recordings before transferring them to CDs or another digital medium. configure the F3 key to correct them when they are highlighted by first choosing the Click/Pop filter and pressing Fill Single Click Now. and then replacing or repairing the damaged location (Correction). You can also create a quick key in the Favorites menu for filling in single clicks. Clicks will ordinarily be visible as bright vertical bars that go all the way from the top to the bottom of the display.ADOBE AUDITION 161 User Guide Click/Pop Eliminator The Click/Pop Eliminator works by searching for anomalies in the audio data that could be construed as clicks or pops (Detection). It’s more accurate than just cutting out the click. or replacing the data with a straight line. Use the Spectral View feature with the spectral resolution set to 256 bands and a Window Width of 40% to see the clicks in a waveform. . The F3 key then repeats the last action without bringing up the dialog box. To speed up the repairing of single clicks.

Five areas of audio are checked. and quiet portions of the audio are handled differently based on the detection and rejection settings. Each successive pass will be faster than the previous one. Discrimination Higher values that are input in this field will fix fewer clicks.162 CHAPTER 8 Effects Menu – Edit View To hear all the clicks that were removed. with amplitude along the x-axis (left and right) and the threshold level along the y-axis (up and down). Making adjustments to these will have the greatest effects. you might try settings from 10 for a lot of correction. then Mix Paste it (overlap it) over the corrected audio with a setting of 100% and Invert enabled. or 5 to 40 on the rejection threshold. Max Threshold of 30. It may take a little trial and error to find the right settings. before manually adjusting the Max Threshold and Min Threshold Detect and Reject values. and determines values for all of the Threshold. enter a figure for the Avg Threshold level of about three quarters the way up between the Min Threshold and Max Threshold settings – for example. lower the Min Thresholds value a bit. lower the Avg or Max Threshold settings. average. Use values of 20 to 40 if there are relatively few clicks in the audio. 50 for very little correction on the detection threshold. and Min (Minimum) Threshold level settings. but the results are well worth it – much better than searching for and replacing each click individually. you can go back and adjust the settings accordingly. save a copy of the original file somewhere.) After the Max Threshold and Min Threshold values have been set. if a quiet part still has a lot of clicks. but will leave original audio alone more by not repairing clicks when there really aren’t any. Use this button to automatically set the threshold levels. Adobe Audition will use values on the curve to the right (above -20dB or so) in processing louder audio. The parameters that make the most difference in determining how many clicks are repaired are the Detection and Rejection thresholds (the latter of which requires Second Level Verification). and then about 25 for Avg Threshold. Min Threshold of 10. because once they’re in place. A setting of about 25 is best for high-quality work. the Auto Find All Levels command scans the highlighted area for clicks. and Reject values. Avg (Average).) Try a value of 10 for lots of subtle clicks to 20 to set levels for fixing a few louder clicks. Go as low as 4 if there are constant clicks. (Detected levels found when using Auto-Find All Levels will always be higher than this value. . The next parameter that affects the output most is the Run Size. starting at the quietest regions and moving up to the loudest. There are separate. Auto Find All Levels Using the values input in the Sensitivity and Discrimination fields as guides. Once you’ve auditioned a small piece of repaired audio. color-coded curves for detection and rejection. running at least three passes will improve the output even more. For example. Sensitivity Lower values entered here will find more subtle clicks. Detect. and settings towards the left in processing softer sections. (It’s a good idea to settle on Max and Min settings first. If you have the time. they usually don’t need to be adjusted much. If a loud piece still has clicks. Find Threshold Levels Only This function will automatically fill in the Max (Maximum). The loud. Detection Graph This graph shows the exact threshold levels to be used at each amplitude.

determines how sensitive the filter is in finding clicks and pops. Press the Find Threshold Levels Only button to fill in these levels automatically with the maximum. . this value (which can be from 1 to 100) determines how many potential clicks (found using the Detection Threshold) are rejected. Once the threshold levels are in place. try setting the detection threshold rather low and clicking the Second Level Verification box. For example. given in dB) for which you can specify unique detection and rejection threshold settings. Min. which increases the possibility of distortion. Lower detection thresholds result in more clicks being found. or increasing the dB level to which the threshold is assigned. spikes throughout. and minimum amplitude of the audio. These levels are ordinarily set to the maximum amplitude. but if the setting is placed any lower. Reject If the Second Level Verification box is checked. Increasing the rejection threshold will prevent more clicks from being repaired. but still remove all audible clicks. try lowering the Min Threshold level more. lower settings result in more clicks being repaired. If a particular sound or instrument is “fuzzing out” and getting distorted. with possible values of 6 to 60. Avg. Start with a threshold to 35 for high-amplitude audio (above -15dB). If there’s a constant crackle in the background of your source audio. If this happens. These settings will find most clicks. then the filter may remove sounds that are not actually clicks. so quiet audio will tend to require lower detection and rejection threshold levels. The idea is to reject as many detected clicks as possible. This value can be as low as 6. average. A good starting value for this setting is 30. If the minimum RMS amplitude was -55dB then Min Threshold would be set to -55. As with detection. and 10 for lowamplitude audio (below -50dB). try lowering the detection threshold. then increase the rejection threshold to keep repairs at a minimum. Detect This threshold setting. less correction is required for louder audio. The more clicks that are detected. and often all of the louder clicks. depending on the nature of the waveform in question. The rejection algorithm looks to see if this click is isolated (meaning it’s a real click) or has neighbors (meaning it’s probably part of a desired waveform). and minimum levels. albeit periodic. then you’d normally set the Max Threshold to -10dB. try either increasing the threshold or enabling Second Level Verification. 25 for average amplitudes. and Min Threshold There are three definable levels (Max. (The fewer repairs that are needed to get good results. Generally. With too much distortion of this type. If you still hear clicks after filtering your audio. the more repair processing there is.ADOBE AUDITION 163 User Guide Max. leave unfiltered) the ones that are less likely to be clicks. as they may not be actual valid clicks. which will re-analyze the detected clicks and throw out (that is. If a trumpet-like horn sound has clicks in it. try lowering this value to reject fewer potential clicks. and the clicks are not being removed. Clicks are very noticeable in very quiet audio. the audio begins to sound flat and lifeless. Some waveforms have sharp. Avg. but if this distorts the audio too much. average amplitude. if your audio has a maximum RMS amplitude of -10dB. as the audio itself will mask many of the clicks so that their repair is not necessary. assign appropriate Detect and Reject values to be used at each of the levels.) Adobe Audition may interpret some valid audio as clicks. the better.

If this option is enabled. saxophones. then any number of passes (up to 32) will automatically be performed. Smooth Light Crackle This option will smooth out one-sample errors when detected. flatter. If this happens. or more tinny. the resulting audio may sound muffled. Generally. Should you find that obvious. a higher detection threshold may lead to fewer interventions in repairing. Correction Set the following correction options. and not corrected after all. so you should only enable this option if you know the audio has very large pops (like a recording from a record with a very big scratch in it). If this makes the resulting audio sound thinner. some of the peaks in the natural waveform may be detected as clicks. Detect Big Pops With some audio. True clicks. and only use it for sections that are very troublesome. female vocals. on the other hand. With Second Level Verification enabled. then enable the Detect Big Pops option. . so going over the audio with another pass will often catch those clicks that weren’t found the first time around. audio from both channels is simultaneously analyzed for possible clicks. Adobe Audition will perform fewer passes if no more clicks are found and all detected clicks have been repaired. large unwanted events (such as those more than a few hundred samples wide) may not be interpreted as clicks by the normal detection algorithm. If these peaks are corrected as clicks. Because this option slows down the restoration. higher rejection thresholds may lead to better results. and only use it if the clicks are very stubborn. leave Smooth Light Crackle turned off. loud pops are not being fixed. In some types of audio. Check this box if you want Adobe Audition to remove these large clicks as well.164 CHAPTER 8 Effects Menu – Edit View Second Level Verification Check the Second Level Verification box to start rejecting some of the potential clicks that were found by Adobe Audition’s click detection algorithm. about half as many or fewer clicks are repaired on each successive pass. Valid values are 30 to 200. Try cleaning up audio without using this option first. try increasing the threshold a bit until the obvious pops are fixed. Note that a sharp sound like a loud snare drum hit can have the same characteristic as a very large pop. If a click is found in one channel. Pulse Train Verification Use this option if too many clicks were detected because of a periodic waveform (like trumpet waveform peaks being considered clicks). and increase the quality of the result somewhat while still removing all clicks. Multiple Pass Some clicks may be too close together to be repaired effectively. and snare drum hits. the likelihood that a click will be detected in the other channel is increased. then the onset of the drum is being considered a big pop and is being “repaired”. If this option is used. and drum hits sound softer. Link Channels If checked. and can have the effect of removing more background crackle. See Rejection Threshold for more information. such as trumpets. If this option is checked. these peaks will be rejected. some valid clicks may not be repaired. When using multiple pass mode. In the same vein. and use settings from about 30 (which will find pops that are “kind of quiet”) to 70 or so (which will only find the very loudest pops). you should first try correcting the audio with this option turned off. will not be rejected.

the F3 (Repeat Last Command key) key will be set to repeat this action. pops. The Run Size setting (which can go from 0 to 1000) determines that any two clicks closer together than the number of samples specified in the Run Size box will be treated as one. Otherwise. then clicks that are very close together may not be repaired completely on the first pass. so this buffer area should remain mostly untouched by the replacement algorithm. If you set the Run Size too small. If the Run Size value is too large (over 100 or so) then the corrections may become more noticeable. A good starting point is an FFT Size of 32. Previously Corrected/Rejected After repairing a click. but if set too high. So. to fill in another single click in highlighted audio. If clicks aren't being corrected fully enough (for example.ADOBE AUDITION 165 User Guide FFT Size Is the size of the FFT (Fast Fourier Transform) that will be used to repair the clicks. which sounds “rumbly”. try increasing the Pop Oversamples value. More information on presets can be found in the “Looking at the Work Area” chapter. and increase it slowly to as much as 30 or 40. then a high FFT size (128 to 256) should work rather nicely. try increasing this value to 48. as very large blocks of data are repaired at once. then an appropriate FFT size will be used for the restoration based on the size of the area being restored. When a potential click is found. but with potentially better results. there may be some extra unwanted low frequency distortion. This area will also show the number of rejected clicks that would have been corrected if the Second Level Verification box was not enabled. The Pop Oversamples value (which can go from 0 to 300) will expand that range. Fill Single Click Now You can correct a single click by highlighting it and pushing the Fill Single Click Now button. If you’re repairing clicks one at a time using the Fill Single Click Now button. A good starting point would be to set this value somewhere around 25 (or half the FFT size if you don’t have the Auto box next to FFT Size checked). it’s a good idea to just let the program itself decide on good FFT size choices by checking the Auto box. Run Size Sets a ceiling on the potential distance between two clicks. Presets Adobe Audition comes with several Click/Pop/Crackle Eliminator presets. and crackle. This setting may remove clicks more cleanly. if clicks become quieter but are still evident). This is the “manual override” for click restoration. its beginning and end points are marked as closely as possible. settings of 128 to 256 work very well when filling in single clicks. then 64. . The higher the FFT Size. If the clicks are still quite audible. Pop Oversamples Is used to give the clicks a little extra buffer space when being repaired. Start with a value of 8. you may wish to override the automatic setting and give a specific FFT size (from 8 to 512) to use for click repair when processing some types of audio. if the value is too high. Once a single click is filled. Audio that doesn’t contain a click shouldn’t change very much if it’s corrected. just press F3. Increasing the Pop Oversamples value will also force larger FFT sizes to be used when the Auto box is checked. audio will start to distort where the clicks were removed. the slower the correction will be. and consider more samples to the left and right of the click as actually being part of the click. etc. re-enter the Click/Pop/Crackle Eliminator window to see the number of previously corrected clicks in the lower right hand corner of the dialog. If the Auto box is checked next to FFT Size. However. In general. However. Adobe Audition’s click repair algorithm may not work well on two consecutive clicks that are extremely close together.

the box(es) on the far right of the level meters will light up. Clipping causes the signal to distort. . Minimum Run Size This value specifies the length of the shortest run of clipped samples to fix. (You can do a DC adjust after de-clipping.) Note: You can monitor clipping occurrence during recording or playback by watching the level meters under the waveform display. specifies the amount to amplify the signal by before processing. 256 steps in 8-bit audio).e. If clipping occurs. Clip Restoration dialog Clipping is a phenomenon that occurs in digital audio when the amplitude value of a signal exceeds the maximum level that can be represented by the current bit resolution (i. which leads to a more thorough repair.” A value of 1% will allow the horizontal line to vary up to 1% away from maximum amplitude. A value of 1 will fix all samples that seem to be clipped.166 CHAPTER 8 Effects Menu – Edit View Clip Restoration Adobe Audition’s Clip Restoration filter can remove the evil occurrences of clipping from your waveform. while a value of 2 won’t fix a clipped sample if it’s not followed or preceded by another clipped sample. It does this by actually “filling in” the clipped segments of the waveform. measured in percentage. Note: Don’t use DC Bias Adjust on any audio you wish to run the Clip Restoration filter on.. A value of zero will consider only perfectly horizontal line-type clipping to be “clipped. because DC bias adjusted material modifies the clipped area and makes it unrecognizable as being clipped. This can happen when your source recording levels are simply too high. of course. Overhead This is the amount of play there is. Values of about 1% work best since they catch almost everything. and appears in the waveform display as a “chopping-off ” of the top or bottom of the waveform. The audible result is a static-like distortion. for detecting clipped regions. Input Attenuation This parameter. measured in dB.

(Try a setting of 40 for normal clipped audio. as well as the percent of samples clipped based on that data. measured in samples. in general you can leave the FFT Size box unchecked. If audio has a constant background hiss. then that hiss can be “noise gated” or removed completely. Hiss Reduction Use Hiss Reduction to literally carve out annoying hiss from cassette recordings.) However. but a Limit of about -0. In this case. .ADOBE AUDITION 167 User Guide FFT Size Set an FFT (Fast Fourier Transform) Size. too much bass. record albums (after using Click/Pop Removal). 3 Run Hard Limiter with no Boost. When FFT Size is disabled. if needed. More information on presets can be found in the “Looking at the Work Area” chapter. Clipping Statistics These fields show the minimum and maximum sample values found in the current selected regions. for example. Adobe Audition uses spline curve estimation. you want to try and estimate the higher frequency signals in the clipped areas. Using the FFT Size option in other situations may help with some types of clipping. It removes all audio in all frequencies that are below a certain threshold (which is generally the noise floor or hiss level). if your audio is severely clipped due to. Gather Statistics Now Pressing this button will fill in the Clipping Statistics fields with information for the current selection or file. Presets Adobe Audition comes with several Clip Restoration presets. Any audio in any frequency band louder than the cutoff level will remain untouched. 2 Run Clip Restoration with no attenuation. or microphone recordings. 4 Convert back to 16-bit.2dB to bring the clipped audio back into normal range. To restore clipped audio while retaining amplitude: 1 Convert the file to 32-bit for more precise editing.

Or. . 2 Then either reset the noise floor graph to Hi (High). To use Adobe Audition’s Hiss Reduction: 1 To use. This information will be used to determine if audio is hiss or desirable audio data. process the entire area you want to remove hiss from. which is used to shift the estimate noise floor reading up or down for fine tuning. or Low. The Right option allows you to display the waveform’s right channel. 3 Finally. or noise floor. the line on the graph represents where the estimated noise floor exists for each frequency in the source audio. Med (Medium). choose an FFT (Fast Fourier Transform) Size first.168 CHAPTER 8 Effects Menu – Edit View Hiss Reduction dialog To get rid of other types of noise. Viewing Left/Right Select the Left button to view the left channel of the waveform in the Hiss Reduction graph. and try a few times reducing hiss from a short sample with different noise floor modifier settings. see the “Looking at the Work Area” chapter. Graph Area The Hiss Reduction graph area depicts what the noise floor looks like. find a section relatively free of audio that contains mostly hiss and click Get Noise Floor. depending on the estimated noise level of the recording. The actual value used when performing hiss reduction will be a combination of the graph and the Noise Floor Adjust slider. choose how much to reduce hiss by. try Adobe Audition’s Noise Reduction effect. Note: For more information about Adobe Audition’s graph controls (such as how to add and remove control points). along the y-axis (up and down). When you’re satisfied with the results. with frequency along the x-axis (left and right) and amplitude. Thus.

Values higher than 20 or so will not ordinarily improve quality any further.) After the noise floor has been identified. • Larger values generally produce better results. This will design a graph that most accurately reflects the noise floor. FFT Size Specify a transform size. reverb. choose an area of audio that has the least amount of high frequency information. (If viewing in spectral view. If music was present at any frequency. Drag Points Enter the number of drag points (also known as control points) you want Get Noise Floor to add to the Hiss Reduction graph. this is reduced. you may need to skew the graph on the left-hand side (representing the lower frequencies) downward some. Adobe Audition’s Hiss Reduction algorithm can more effectively remove just hiss while leaving regular audio untouched. In many cases. After pressing a Reset button. fine tune the noise floor setting using the Noise Floor Adjust slider until the appropriate amount of hiss reduction and quality level is achieved. the lower the noise floor will be (up to -40 db). • The more the slider moves to the left. For quick. and should be moved down. Med. Values of 5 to 10 usually achieve good results.) Usual settings range from 7 to 14. the area will not have any activity in the top 3/4ths of the display. you should click on Get Noise Floor with a section of just hiss highlighted in your waveform. (See Spectral Decay Rate. • With lower precision factors.ADOBE AUDITION 169 User Guide Get Noise Floor This is the most powerful feature of Hiss Reduction. the dots on the graph around that frequency will be higher than they should be. select an area with the least amount of music or other desired audio. Noise Floor Adjust Use this slider to specify the level of the noise floor.. a complete noise floor graph isn’t always necessary. Transition Width This setting. If no such area can be found in the waveform. Optimally. • Lower FFT sizes (2048 and below) will have better time response (less swooshing before cymbal hits for example) but poorer frequency resolution. If a good estimate of what the noise floor looks like (i. • Higher FFT sizes (12000 and above) may cause swooshing effects.e. sizes from 3000 to 6000 work best. but at slower processing speeds. • The more the slider moves to the right. In general. but be very accurate in the frequencies processed. and long drawn out background tones. . general-purpose hiss reduction. produces a slow transition in hiss reduction instead of dropping off suddenly from no reduction to the reduced hiss level. Precision Factor This value determines the accuracy of hiss reduction in the time domain and affects how quickly spectral components below the previous hiss level decay. so as to make the graph as flat as possible. For best results. or Low to set the floor to -90dB (if there isn’t much hiss at all). Press Med to set the floor to -70dB (average hiss). how it’s shaped) is graphed. Low) These three Reset buttons will clear the noise floor graph. measured in dB. with higher values. the higher the noise floor will be (up to 40 db). making things sound hollow or flanged. you can simply reset the graph to an even level and manipulate the Noise Floor Adjust slider. you may get a few milliseconds of hiss before and after the louder parts of audio. Reset (Hi. Press Hi to assume the noise floor is at 50dB (if hiss is very loud).

unnaturally long tails and reverbs might be added. It can also remove tape hiss. measured in dB. background bubbly effects might be heard. more audio in the same frequency band is assumed to follow. and music may start to sound artificial. Reduce Hiss By When audio components are found below the given noise floor settings. or any noise that is constant throughout the duration of your waveform. The selection is looped until you press the Stop button. With low Spectral Decay Rates (measured in percent). If for some reason you want to extract the hiss only. Noise Reduction Adobe Audition’s Noise Reduction function can dramatically reduce background and general broadband noise with a minimal reduction in signal quality. they are reduced up to this amount. choose Keep Only Hiss. but the remaining audio may start to be distorted. All the audio will be removed. Remove Hiss/Keep Only Hiss: For normal operation. • With lower reduction amounts (below 6dB) not as much noise is removed. this gives you the opportunity to make and hear processing adjustments as the selection is continuously played. • With higher levels (especially above 20dB) dramatic hiss reduction can be achieved. leaving only hiss. • With Spectral Decay Rates too low. Spectral Decay Rate When audio above the noise floor is encountered. Since Adobe Audition’s Previews are dynamic. some hiss may remain after processing. • With Spectral Decay Rates too high (above 90%).170 CHAPTER 8 Effects Menu – Edit View • If the Transition Width value is too small. . less audio is assumed to follow. other background artifacts may be heard. • If the Transition Width value is set too high. microphone background noise. choose Remove Hiss. Values of 40% to 75% work best. such as little “tinkles” in the background. Preview Press the Preview button to audition the current Hiss Reduction setting before you apply it to the waveform. Presets Adobe Audition comes with several Hiss Reduction presets. but the original audio signal stays relatively undisturbed. More information on presets can be found in the “Looking at the Work Area” chapter. 60 cycle hum. and the carving function will cut more closely in time to the frequencies being kept.

Move the Noise Reduction Level slider up or down to move the entire yellow region up or down.fft file that Adobe Audition has saved. In general. View Left/Right Click to view either the left channel noise profile or the right channel noise profile. You can load any . Before you can perform noise reduction. edit the channels individually instead of both channels at once. (Noise is reduced 21dB and signal 1dB for example). The amount of noise reduction is always the same for both channels.ADOBE AUDITION 171 User Guide Noise Reduction dialog The amount of reduction required depends upon the type of background noise. To perform separate levels of reduction on each channel. This is done by pressing the Load Profile or Get Profile from Selection buttons. you should be able to attain increases in Signal to Noise ratios of 5dB to 20dB. . Note: If hiss is what you want to remove. Load Profile Press this button to load any previously saved noise profile. Noise Profile Plot The yellow points in the profile plot represent the amount of noise reduction that will be performed at any particular frequency. try Adobe Audition’s Hiss Reduction effect instead. you must load or get a noise profile first. and the allowable loss in the quality of the signal that is to be kept.

Highlight and copy the short noise sample. Even if the audio samples were recorded with the same microphone. You’ll notice that using very small numbers of statistical samples will greatly affect the quality of the various noise reduction levels. Reduce the FFT Size or select a larger section of noise to sample. • Check Log Scale to divide the graph evenly into 10 octaves. A value of 64 is usually sufficient. If the line is set to Flat (which is accomplished by pressing the Flat button). This file will contain information on sample type. For example. Bear in mind. then the amount of noise reduction used is based on the noise profile exactly. however. that because noise profiles are so specific to the recording environment of the waveform in question. a low noise reduction level with more samples will also cut out more noise. a noise reduction level of 100 will likely cut out more noise. Note: If the selection used for gathering the noise level is too small. use Copy and Paste to create one. or alternatively. it only has background noise). FFT (Fast Fourier Transform) size. but also cut out more original signal as well. Note: For more information about Adobe Audition’s graph controls (such as how to add and remove control points).. the type of background noise could be different. adjust the chart to give less noise reduction in the low frequencies. You can then perform as many Undos as necessary to remove the extra samples you’ve pasted.fft file. after which you can remove all noise of this type from your waveform. The readout below the graph displays the frequency and adjustment percentage at the current position of your mouse. then the Get Profile from Selection button won’t be enabled. a 44K stereo 8-bit sample is not compatible with a 22 kHz mono 16-bit profile. paste this new instance at the end of original highlighted sample. Log Scale You can view the chart of the noise profile in either linear or logarithmic fashion. Get Profile from Selection Press this button to extract a noise profile from the highlighted selection. one for the highest amount. even if the sample types are compatible. but likely will not disrupt the intended signal. Save Profile Once the noise level is set. The graph depicts frequency along the x-axis (left and right) and the amount of noise reduction (in percent) along the y-axis (up and down). and then press Get Profile from Selection. if you need noise reduction only in the higher frequencies. In other words. a profile for one type of noise is likely to not produce good results when used for another type of noise. Repeat this process until the sample has been extended long enough for the Get Profile from Selection button to be enabled. and three sets of FFT coefficients: one for the lowest amount of noise found. . With more samples. If you can’t find a longer noise section. Snapshots in profile The number in this field describes how many snapshots of noise to take in the highlighted interval when the Get Profile from Selection button is pressed. and one for the power average. However. the more accurate the statistical data is. Reduction Graph Use the Reduction Graph to set the amount of noise reduction at certain frequency ranges. see the “Looking at the Work Area” chapter. Then.e. more reduction in the higher frequencies. Adobe Audition will gather the statistical information about the background noise. you can save the noise profile as an . The larger this number. Try to select a portion of the waveform that has no important signal in it (i. if the recording environment is different.172 CHAPTER 8 Effects Menu – Edit View Note: A noise profile can only be used on a sample of the same type as when saved.

so the actual noise can be detected and removed with more precision. Values of 5 and up work best. . All the audio will be removed. the finer frequency detail you get in removing noise. Note: Depending on the original waveform and the type of noise removed. the profile plot is only updated when a control point is placed in its new location. Beyond 10 or so. If for some reason you want to extract the noise for other purposes. Try using 5 or 7. Live Update Select or deselect this option: • When you check this option. with lower FFT sizes giving better time resolution and higher FFT sizes giving better frequency resolution. Generally. It determines the number of individual frequency bands that are analyzed. Settings between 5dB and 100dB are recommended. time resolution. With values of 3 or less. Noise Reduction Level Use this slider to manually adjust the amount of noise reduction (measured in percent) to be applied to the waveform or selection. time slurring occurs. If this happens undo the effect and try a lower setting. as odd numbers are best for symmetric properties. high noise reduction levels can sometimes cause the remaining audio to have a “flange-y” or “phase-y” quality. • Precision Factor: This value affects distortions in amplitude. there’s less spacing between bands. The noise in each frequency band is treated separately. For example. • Reduce by: Lowering this value (measured in dB) may help reduce some bubbly background effects. of the noise signal at each band. which can make the result sound reverberant or “echoey” (with pre. choose Keep Only Noise. leaving only noise. • Remove Noise/Keep Only Noise: For normal operation. This means that after each block is processed.ADOBE AUDITION 173 User Guide • Uncheck Log Scale to divide the graph linearly.and post-echoes). the FFT is performed in giant blocks that aren’t very continuous between the blocks. if there’s a 120Hz hum. the noise profile plot updates as control points are moved around on the graph. frequencies from 80Hz on up to 160Hz may be affected. You may also enter the desired amount directly in the text box to the right of the slider. • With Live Update unchecked. • Smoothing Amount: This takes into account the standard deviation. increasing the smoothing amount (up to 2 or so) will reduce the “burbly” background artifacts at the expense of raising the overall background broadband noise level. there can be a drop or spike in volume at the interval between blocks. Good settings for FFT Size range from 4096 to 12000. Bands that vary greatly when analyzed (such as white noise) will be smoothed differently than constant bands (like a 60 cycle hum). With more bands. but not many frequency bands. there is no noticeable change in quality-only in the time it takes to compute. Noise Reduction Settings Set the following options: • FFT Size: This parameter causes the most drastic changes in quality. with each 1000kHz (for example) taking up the same amount of horizontal width. However. or variance. with too many bands. so the more bands you have. So the tradeoff is frequency resolution vs. choose Remove Noise.

and downsampling back to 8 bits. If the audio in the band is just above the threshold. For example. reducing the noise. while audio just above it would remain untouched. Noise at -45dB is very audible. thereby creating a rather wild effect. You can get much better results by converting to 16 bits first. and not the background noise. as owners of 8-bit sound cards can attest. at -62dB it would be reduced some (to about -64dB). with a Transition Width of zero. If the wave isn’t centered. and so on until audio at -70dB would be removed entirely. a sharp. Conversely. it’s truncated to silence. Again. Negative widths simply go about the other side. You can reduce the noise incurred by the sound board's circuitry during recording--just record a second of silence before whatever you want to record and tell the noise reducer to remove the sound of that silence in order to further reduce the noise level by up to 10dB. 2 Select a short range (at least one half second) that contains only the noise that you'd like to reduce. and a cutoff point (scanned noise level for the particular band) of -60dB. it’s impossible to get the noise level to less than about -45dB – if even that. For instance. you can specify a range over which the audio will fade to silence based upon the input level. then audio just below -60dB is entirely removed. you may hear audible clicking in quiet parts after processing. Although it will work with 8-bit audio. noise gate-type curve is applied to each frequency band. Great effects can be generated by setting the noise level to some valid signal component in the waveform. Centering the wave adjusts the DC offset to zero. You’ll get better results with Noise Reduction if the original signal is centered. so in the above example. To center a signal. Note: Noise reduction works best on 16-bit and 32-bit samples. Here’s the most common way to use Adobe Audition’s Noise Reduction function: 1 Record or open a piece of music that has tape hiss or other background noise. For example. Since Adobe Audition’s Previews are dynamic. Because centering takes out all frequencies below about 16Hz. Whatever frequencies are present in the highlighted selection when Set Noise Level is chosen will be removed when the reduction level is set to 100. Processing this vocal file (remember. it’s best to process a copy of the original file) will then reduce or eliminate the “O” sounds. than by reducing noise in 8-bit samples directly. you can select the vowel “O” to be used as the profile.174 CHAPTER 8 Effects Menu – Edit View • Transition Width: This setting determines how sharp the division is between what is considered noise and what should be kept. if the width is zero. highlight it and choose the Center Wave preset from the Effects > Amplitude > Amplify function. 3 Choose the Effects > Noise Reduction > Noise Reduction option and click on Get Profile from Selection to sample the noise. You can generate interesting effects by choosing valid “foreground” audio as your profile “footprint” rather than background noise or hiss. 4 Click on Close. a -10dB width would have ranged from -60dB to -50dB. Preview Press the Preview button to audition the current Noise Reduction setting before you apply it to the waveform. this gives you the opportunity to make and hear processing adjustments as the selection is continuously played. within a vocal line. . if it’s just below. with a transition width of 10dB. it’s completely safe to do without any ill side effects. it stays. The selection is looped until you press the Stop button. then audio at -60dB would stay the same.

That is. “convolving” someone saying “Hey” with a drum track (short full spectrum sounds such as snares work best) will result in the drums saying “Hey” each time they are hit. In a sense. Have fun and experiment. You can build impulses from scratch by specifying how to filter the audio and the delay at which it should be echoed. The result can be that of filtering. 7 Click on OK to perform the noise reduction. this feature uses one waveform to “model” the sound of another waveform. Special The options in this menu can be used to introduce some processing effects that are both innovative and wild-n-wacky. . Convolution dialog For example.ADOBE AUDITION 175 User Guide 5 Select the entire file (or the portion you want to noise-reduce). any number of times. 6 Go to Effects > Noise Reduction >Noise Reduction again. phase shifting. any filtered version of a waveform can be echoed at any delay. Convolution Convolution is the effect of multiplying every sample in one wave or impulse by the samples that are contained within another waveform. or by copying audio directly from a waveform. or any combination of these effects. echoing.

Highlighted Selection Any audio can be added to an impulse directly. • Save saves an impulse for later recall. By default. if an impulse was created at 44100Hz. Adobe Audition automatically estimates a good starting value for you.) The sample rate of an impulse will affect the outcome of convolution. Note: An “impulse” is the data by which every other sample in your waveform will be multiplied. and reloaded and used on a 22050Hz file. and the audio being convoluted were at the location of the “click”. load up and play with some of the sample Impulse files (. For example. If the impulse is a single sample of a full volume “tick”. If there are several ticks. one singing “aaaaaah” for one second could be turned into thousands of people singing “aaaaaah” for any length of time by using some dynamically expanded white noise. You can generate an impulse like this by going to the cathedral in question. For example. Another interesting use for convolution is to generate an infinite sustained sound of anything. or on the Adobe Audition CD. and half as loud as the previous tick. The Left and Right volume percentages will be the resulting volume of the dry signal in the left and right channels. then the original audio data will be reproduced at half volume. standing in the spot where you would like the audio to appear it is coming from. and convolute it with any mono audio (left and right channels the same) then the result would sound as if that audio were played in that cathedral. and generating a loud impulsive noise. and each echo at half the volume of the previous echo. if you have an impulse of your favorite cathedral. simply add a full spectrum echo at 0 milliseconds. then the result of convolution with some audio will be that sound echoed with 100ms between each echo. such as one tick every 100 milliseconds. any reverberant space can be simulated. like a “snap” or loud “click”. Create Custom Impulse Use these options to create new impulses. All filtered echoes will be at half the frequency.176 CHAPTER 8 Effects Menu – Edit View With the proper impulses. To get a feel for Convolution. descending in amplitude over time.imp) that come with Adobe Audition. • Mono/Stereo: Mono impulses work with either mono or stereo data (the left and right channels will be convoluted with the same impulse). and all delays will be twice as long. For example. then convolution with it will sound as if the listener were in the exact position of the recording equipment. You can find them in the /IMPS folder inside of the folder where you have installed Adobe Audition. then the convolution of that impulse with any audio data will just be that audio data itself. • Clear clears the impulse completely. You can make a stereo recording of this “click” from any location within the cathedral. Lower this value to increase the amplitude of the impulse. Note: To send any portion of unprocessed “dry” signal back out. then everything will be stretched out 2:1. • Load: Press this button to load a previously saved impulse (such as the ones that come with Adobe Audition. The scaling factor to use when adding a highlighted selection to an impulse determines its volume. Stereo impulses convolute the left and right channels separately. . If that “tick” is at half volume. Bandpassed Echoes Use these options to add echo at any frequency to the impulse. If you used this recording as an impulse.

• Left : This setting specifies the left volume (in percent) at which to make the echo or selection being added to the impulse. to compensate for the delay incurred when the minimum delay used was only one-half the FIR size. place at least one echo that is full spectrum (Minimum=0Hz. enter the volume percentages after the Left and Right settings. • Shift: This value is generally set to one-half the FIR Size when building impulses from scratch. For example. Add to Impulse These settings let you add features to impulses.ADOBE AUDITION 177 User Guide • Minimum: When adding bandpassed echoes. • Right: This setting specifies the right volume (in percent) at which to make the echo or selection being added to the impulse. you should first scale down any such selection to a lower volume. Besides just echoes. enter 1000Hz for the maximum value. Maximum=22050Hz) at a larger delay (like 1000ms). add a full spectrum echo (e.g. but with different minimum and maximum values. as they are just single sample ticks in the impulse.g. • FIR Size: This parameter sets the size of the FIR filter to use to generate the filtered echo. This will cause an echo of the specified volume to occur at the given delay after convolution. Note: To add a tick at any volume. You can ignore this delay for full spectrum echoes. To echo all frequencies outside the range. enter 500Hz for the minimum value. Global Settings These settings effect how the given impulse will be used during convolution. and the opposite Left and Right percentages (e. Note: You can make any audio data part of an impulse by first highlighting the audio and then using the Add Sel. >> button. . For pre-echoes. you can add filtered versions of echoes by entering the minimum and maximum frequencies to echo. the echo may contain more frequencies than you want. • Maximum: When adding bandpassed echoes. Then any echo placed before 1000ms will be a pre-echo. Ordinarily. this is the lower cutoff frequency of the echo. Adjust this shift setting if you find that the convoluted audio is migrating too far to the right with respect to the original audio. to echo just the range from 500Hz to 1000Hz. then add another echo at the same delay. • Delay: This parameter sets the amount (in milliseconds) by which samples are delayed. You can add as many echoes as you like. You can add as many selections of actual audio as you like. and the Delay at which the tick should appear. • Add Sel: This setting adds the currently highlighted selection to the impulse at the delay and left/right volumes specified. If you use a smaller delay than that suggested. this is the upper cutoff frequency of the echo. Note: Adobe Audition recommends a minimum delay (below the FIR entry box) when you add this echo. • Add Echo: Pressing this button will add the bandpassed echo to the impulse at the delay and left/right volumes specified. • Volume: If the convoluted audio comes out too soft or too loud. from 0Hz to 22050Hz) at a specific delay. enter an appropriate value to amplify or attenuate the audio. to echo just the range from 500Hz to 1000Hz. at -100% instead of 100%). For example. otherwise the convolution will come out extremely loud.

• Right: Click this button to enable display of the impulse for the right channel only. these tabs become inactive (and are marked Symmetric). Distortion Use this function to create effects such as a blown car speaker. • View: Both Selecting this button enables display of the impulse for both the right and left channels. this gives you the opportunity to make and hear processing adjustments as the selection is continuously played. really bad! (Of course.) Distortion dialog Positive/Negative Tabs You can specify separate distortion curves for positive and negative sample values. Preview Press the Preview button to audition the current Convolution setting before you apply it to the waveform. the impulse’s amplitude is displayed so that it exactly fits in the display vertically. Have fun making your audio sound really. The selection is looped until you press the Stop button. a muffled microphone. If the Symmetric box is checked. . and an overdriven amp. it’s great for adding fuzz to guitar licks to get that “authentic” heavy metal sound. Since Adobe Audition’s Previews are dynamic.178 CHAPTER 8 Effects Menu – Edit View View Settings These settings affect the impulse display. • Normalized View: If this option is checked. • Left: Select this button to enable display of the impulse for the left channel only. Select the tab corresponding to the distortion curve you want to display.

To get the curve closer to a control point. While this function is far from a complete MIDI authoring studio. this gives you the opportunity to make and hear processing adjustments as the selection is continuously played. When you use Spline Curves. best fit curve instead of a straight line between control points on the graph. Note: For more information about Adobe Audition’s graph controls (such as how to add and remove control points). A line that flows directly from the lower-left to the upper-right (which is the default) depicts a signal that’s been left untouched. Music Adobe Audition’s Music function can use any highlighted selection as a “voice” to synthesize music or harmonize a wave using a particular chord. The readout below the graph displays the current input and output sample values that are under your mouse pointer. see the “Looking at the Work Area” chapter. The selection is looped until you press the Stop button. the line won’t ordinarily travel directly through the control points. the closer the spline curve will be to those points.ADOBE AUDITION 179 User Guide Copy from Positive Press the Copy from Positive button (available in the Negative tab) to copy the positive curve to the Negative window. the points control the shape of this curve. the positive and negative curves are identical. rather. The more control points there are clustered together. Preview Press the Preview button to audition the current Distortion setting before you apply it to the waveform. To specify separate Positive and Negative curves. since every input value goes to the exact matching output value. Spline Curves Check this option to generate a smoother. it provides a quick and simple way to put a sample to music. uncheck Symmetric and choose the appropriate tab. click to create more control points near the point in question. Since Adobe Audition’s Previews are dynamic. Adjusting the shape of this line will adjust the input to output assignments. More information on presets can be found in the “Looking at the Work Area” chapter. Distortion Graph This graph depicts the input sample value in dB along the x-axis (left and right) and the output sample value in dB along the y-axis (up and down). Use Spline Curves when you want very smooth curves instead of straight lines (with their discontinuities at the control points). Presets Adobe Audition comes with several Distortion presets. . Symmetric If Symmetric is checked.

pick up the chord object (the 3 notes on top of each other) from the Notes area and drop it on a note above. or pick them up to insert in a new position. and the other notes will automatically appear above it in the right ratios. and then choose the chord type from the list. 3. You can choose to make a chord out of 2. Thus. New Song Press this button to clear the current song/note sequence. flat. Staff Drag notes from the Notes area. If you want to clear a sharp. give it a name in the Song Title box. The note you drop it on will be the starting note of the chord. Use the horizontal scroll bar to work on individual portions of the song at a time. and place them here. selecting music a second time will automatically use your last sample. E-flat) will determine the playback pitch for your sample. If no range is selected. To sharpen or flatten a note. Chord Type Use the chord selection drop own list to determine the minor or major chord type and voicing you would like to use when entering a chord.180 CHAPTER 8 Effects Menu – Edit View Music dialog Before you bring up the Music dialog. Notes Simply drag the notes and rests you desire to the staff. pick it up and drop it off away from the bar. You can move notes up or down after they have been placed. The actual song data is saved in the file SONGS. or 4 voices. you must first highlight the range of the current waveform you wish to use as a quarter note. Adobe Audition will use the data on the clipboard. Then. and drop it on the note you wish to bring back to normal. To remove a note. Song Title If you wish to keep a sequence of notes you’ve created. . Keep in mind that the clipboard data will be filled with your sample automatically once music is generated.INI in your Adobe Audition data folder. You can choose previously saved songs from the drop-down list of song titles you’ve created. The note location (A. use the faded looking quarter-note object. or chord from a note. You can scroll to write a piece as long as 256 notes. drag the sharp or flat symbol on top of the note you wish to transpose.

regardless of pitch. The operation that does this takes longer to calculate. If the Exact Tune box isn’t checked. Key Choose a key for your song from the Key drop-down list. your sample’s original frequency will be played at A (above middle C).ADOBE AUDITION 181 User Guide Listen If you have MIDI playback capabilities. The music is played through channels 1 and 13 for Extended and Base level compatibility. Your sample’s length is the length of a quarter note. Doppler Shifter Use Adobe Audition’s Doppler Shifter effect to create the “fly by” sounds that are most familiar from cars racing by or airplanes flying overhead. Only standard major key signatures are listed. then the notes will overlap. resulting in higher pitches being shorter than lower pitches. Important: Make sure your sound card’s mixer is set correctly for recording the MIDI channel. Octave This drop-down list lets you transpose the sequence by octaves. Tempo The tempo is given in quarter notes (beats) per minute. Play begins at the leftmost note visible on the staff (which means play begins at the position you are scrolled to). and then press Adobe Audition’s Stop control to terminate recording. Let’s use a car for our example. and continues on to the end of the song. you can listen to a preview of your sequence before actually applying it. then go into the Music dialog and press Listen. Time/Pitch The effects in this menu to are used to alter the time (duration) and pitch (tonality) of an audio file or selected range. all notes will be the same length as the original sample. hit Cancel. You can record music played by the Listen preview button. If the Constant Duration box isn’t checked. The key of C is the default. but high-pitched notes will be the same length as lower pitched notes. Exact Tune Check the Exact Tune box to tune your sample so that when played at A (above middle C). the frequency of your sample is at 440Hz. Choose the desired instrument by typing its MIDI instrument number in the box to the right. When the song is done. Simply start Adobe Audition’s recording process. . Choosing “C” plays the notes at normal transposition. If your note is longer than the period determined by the tempo. so for a minor key simply choose the relative major (B flat for C# minor. for example). the note is created by directly stretching or compressing the original sample. Constant Duration When you check the Constant Duration box.

• Select the Circular option to visualize the effect’s path as a circle on the graph in the right section of the Doppler Shifter window. Note: Unlike many of the graphs in Adobe Audition’s effects. is the virtual starting point of the effect. the graph simply displays what the Doppler effect will “look like” as you make adjustments to the effect’s parameters. Depending on the path type you chose. The opposite happens as it passes by you. you can’t directly manipulate the items on the graph using your mouse. and by the time the next one leaves. and the waves are stretched out. the noise it’s making sounds like it’s a higher frequency because each wave crest as it comes towards you is actually compressed by the car itself moving forward. measured in meters. the car itself has moved forward. Path Type Select one of the following: • Select the Straight Line option to have effect’s path visualized as a straight line on the graph in the right section of the Doppler Shifter window. you’ll get a different set of options. and lowers as it races past you.182 CHAPTER 8 Effects Menu – Edit View Doppler Shifter dialog The frequency of the noise from the car starts out at a high pitch and tempo. the Doppler Shifter graph is non-interactive. The first crest leaves the car. When the car is coming towards you. reducing the wavelength of the sound and raising its frequency. Straight Line Options Set the following: • Starting Distance Away: This value. resulting in a lower-pitched sound. . Instead.

Adjust Volume based on Distance With this box checked. More information on presets can be found in the “Looking at the Work Area” chapter. • Center on right by: Specify the number of meters where you want the effect to center on the right of the listener’s perspective. Presets Adobe Audition comes with several Doppler Shifter presets. • Passes in front by: Specify the number of meters you want to the effect to “pass in front” of the listener by. • Coming From: Enter the virtual direction (measured in degrees) that the effect is coming from. Pitch Bender This effect varies the pitch of the source audio over time. Preview Press the Preview button to audition the current Doppler Shifter setting before you apply it to the waveform. sets the circular dimensions of the effect. • Velocity: The value entered here is the virtual speed at which the effect moves. Adjust Volume based on Direction Check this box to have the volume of the effect automatically adjusted based up the virtual direction values you’ve entered. Quality Level This drop-down list lets you select from six different levels of processing quality. measured in meters per second. • Passes on right by: Specify the number of meters you want to the effect to pass by the right of the listener’s perspective by. measured in meters per second. . • Center in front by: Enter the number of meters where you want to the effect to center in front of the listener. specifies the beginning virtual angle of the effect.ADOBE AUDITION 183 User Guide • Velocity: The value entered here is the virtual speed at which the effect moves. such as that of a record or a tape speeding up or slowing down. measured in degrees. • Starting Angle: This value. The selection is looped until you press the Stop button. Use the graph to “draw” your tempo to create smooth tempo changes or effects. Circular Options Set the following: • Radius: This value. Since Adobe Audition’s Previews are dynamic. the volume of the effect is automatically adjusted based upon the virtual distance values that have been specified. this gives you the opportunity to make and hear processing adjustments as the selection is continuously played. The lower quality levels will take less time to process. which is measured in meters. but the higher quality levels should produce more pleasing-sounding results.

Pressing this button will set the endpoints to no pitch shift. Use Spline Curves when you want very smooth curves instead of straight lines (with their discontinuities at the control points). To get the curve closer to a control point. with all points being set to no pitch bending. measured in semitones or beats-per-minute. see the “Looking at the Work Area” chapter. it’s good to have the endpoints be at the same rate as the surrounding audio. click to create more control points near the point in question. the points control the shape of this curve. while lower points slow it down. the closer the spline curve will be to those points. The more control points there are clustered together. Higher points on the curve speed up the sound. Flat Press this button to reset the graph. best fit curve instead of a straight line between control points on the graph. depending on the Range button pushed.184 CHAPTER 8 Effects Menu – Edit View Pitch Bender dialog Pitch Graph Use the graph to draw your tempo change over time. while the y-axis (right vertical border) represents pitch. . Note: For more information about Adobe Audition’s graph controls (such as how to add and remove control points). rather. Spline Check the Spline box to generate a smoother. When you use Spline Curves. Zero Ends If you’re pitch bending the middle of a selection. The x-axis (lower horizontal border) of the graph represents the sound file or highlighted section’s time duration. the line will not ordinarily travel directly through the control points.

you can use Stretch to transpose a song to a higher key. Specifying separate values for start and end stretches the waveform in a linear fashion from one ratio to another. Aliasing will still occur however when pitch shifting up. but the higher quality levels will reduce the distortion effects tremendously when shifting the pitch down.”>> Stretch dialog Constant Stretch/Gliding Stretch Tabs To perform a constant stretch (no variation in the amount of stretch) on the entire selection. The selection is looped until you press the Stop button. a range as well as the base tempo needs to be entered. the pitch changes logarithmically up and down. the pitch changes up and down linearly. The lower quality levels have more unwanted harmonic distortion. The higher quality levels will sound best. You may specify the exact tempo of your piece to change to different rates.ADOBE AUDITION 185 User Guide Quality Level Use this drop-down list to select the desired quality level. or raising and lowering pitch.In semitones format.bmp “File not found. giving the effect of slowing down and speeding up. The range can be set as semitones (there are 12 semitones to an octave) or as beats-per-minute. If you’re using Gliding Stretch. you can choose the initial stretching percent (less than 100% will compress the wave). but will take longer to process. Usually you won’t notice any ill effects from harmonic distortion of the signal when using levels from Very Good on up. Stretch The Stretch effect changes the pitch (frequency) and/or tempo (duration) of the audio signal. or to slow a passage down without changing the pitch. To vary the stretch from one level to another. More information on presets can be found in the “Looking at the Work Area” chapter. this gives you the opportunity to make and hear processing adjustments as the selection is continuously played. For example. Presets Adobe Audition comes with several Pitch Bender presets. Preview Press the Preview button to audition the current Pitch Bender setting before you apply it to the waveform. Keep in mind that when going down in pitch. while in beats-per-minute format. . If doing beats-per-minute. Since Adobe Audition’s Previews are dynamic. The number of semitones to shift up or down can be entered. and the final stretching percent. Pitch and tempo may also be varied over the length of the audio. but this isn’t required. Each format will give a different rate of pitch change for a perfect diagonal line on the graph. Length Report At the bottom of the Pitch Bender dialog is a report of what the new length of the file will be. <<Screenshot: TP-Stretch. Range This sets the vertical scale of the graph (the y-axis). Initial/Final Sliders Adjust the desired slider to set the amount of stretch to be applied to the waveform. select the Constant Stretch tab. choose the Gliding Stretch tab. It can also change either pitch or tempo without affecting the other. With Gliding Stretch. but will process more quickly. Changes in the sliders are reflected in each of the Ratio and Length boxes. it’s easy to make very long files depending on how large a Range is selected. sliders for both initial and final settings will be available.

while the tempo or speed of play remains the same. For example. while not affecting the original playback speed. the more precise the placement of stretched audio is over time. to transpose your sound up one semi-tone (one half-step on a keyboard) choose 1# for one sharp. 8-bit or low-quality audio files can be processed in a short amount of time using the Low Precision setting. The higher the value. the tempo will speed up and the pitch will increase. However. Note: This is the setting a radio or TV production person would use in the process of making a 33 or 28 second commercial exactly 30 seconds. This will take longer. If the frequency is too high. The corresponding numerical values are entered into the stretch sliders automatically. Lower percentages increase the pitch when you chose Pitch Shift (preserves tempo). If the initial and final lengths are different. the tradeoff to having a precision factor that’s set too high is that it uses up a great deal of processing power (and thus time). both the pitch and tempo settings are affected. while at the same time the pitch will lower. then the actual final length will be exactly (initial+final)/ 2 when in Preserve Pitch mode. processing time. Entering one automatically changes the other. • Pitch Shift (preserves tempo): This setting raises or lowers pitch. When preserving pitch or tempo. artifacts are more noticeable as rates go up.186 CHAPTER 8 Effects Menu – Edit View Ratio/Length Boxes You can enter a desired Ratio (in percentage) or final Length (in time) for the stretch. A quick way to determine the quality factor to use is to process a small portion at the lowest setting and the move up the scale until you’ve achieved the best balance of quality vs. the degree of precision that an audio file should be processed with is often balanced against the time that it takes to process that file. For percentages of 99 or lower. Try using differing initial and final percentages to raise and lower the pitch without affecting the tempo. •Resample: When you use this setting. but the results can be worth it. Medium Precision. Higher percentages lower the pitch when Pitch Shift (preserves tempo) is selected. Pitch and Time settings Set the following options: • Splicing Frequency: This setting determines the size of the chunk of audio data used when preserving pitch or tempo while elongating or truncating a waveform. Higher percentages increase the tempo when you choose Time Stretch (preserves pitch). the tempo will slow. Stretching Mode Three Stretching Mode options are provided: • Time Stretch (preserves pitch): Select this option to make the tempo or play speed shorter or longer. lower splicing frequencies may add stutter or echo. As you might expect. Lower percentages slow down the tempo when Time Stretch (preserves pitch) is selected. If using percentages above 100. At higher precision. Transpose Use this drop-down list to select musical transposition amounts. . but keep the pitch the same throughout. and High Precision. it may sound “tinny” or like talking through a tunnel. Note: This is the setting you’d use for making a voice sound deeper or higher. Precision Three options for precision (overall faithfulness to the sound’s quality) are provided: Low Precision. whereas a professionally-recorded audio file may require stretching using the High Precision algorithm.

If you find you’re getting a chorus effect when stretching. Since Adobe Audition’s Previews are dynamic. . doing so may produce a “choppy” sound. if the tone was reported to be 438Hz. you can improve the quality of stretched mono-tonal (pure tone) samples by choosing a Splicing Frequency that’s evenly divisible into the frequency of the sample. Refresh Effects List Select this item to scan your system for new Adobe Audition effects and DirectX plug-ins. adjust the overlapping value to strike a balance between choppiness and chorusing. • Choose Appropriate Defaults: When preserving pitch or tempo. The selection is looped until you press the Stop button.9Hz. Overlapping can be as high as about 400%. More information on presets can be found in the “Looking at the Work Area” chapter. using 21. then divide by an integer to get the Splicing Frequency.9Hz as the Splicing Frequency will greatly improve the quality by reducing phase artifacts. you can lower the overlapping percentage. “chunks” of audio are overlapped with previously transformed chunks.ADOBE AUDITION 187 User Guide If the low precision mode is used. the Splicing Frequency doesn’t matter as much. This setting determines how much the current chunk will overlap with the previous and next ones. Use the Frequency Analysis window to find the sample’s base frequency. Preview Press the Preview button to audition the current Stretch setting before you apply it to the waveform. dividing by 20 gives 21. check this box to have Adobe Audition automatically select good default values for the Splicing Frequency and Overlapping settings. However. this gives you the opportunity to make and hear processing adjustments as the selection is continuously played. For non-tonal or noisy samples. For example. but you should only go this high for really high speed increases (like 200% or more). • Overlapping: When stretching or compressing. Presets Adobe Audition comes with several Stretch presets. If so. Thus.

188 CHAPTER 8 Effects Menu – Edit View .

Any following audio is pushed back in time. use Effects > Silence instead. Silence This function generates a specified amount of silence (entered in seconds) from the current playbar cursor position. DTMF Signals This function generates Dual Tone Multi-Frequency (DTMF) signals (a. Feel free to use decimals for partial seconds.189 Chapter 9: Generate Menu – Edit View T he Generate menu displays all the options that relate to waveform generation when you’re in the Edit View mode. These signals are recommended internationally by the International Telegraph and Telephone Consultative Committee as the signals for pushbutton telephones.k. Generate DTMF Signals dialog Keep in mind that the DTMF signals generated by telephone pushbutton keypads are different from the Multi-Frequency (MF) tones generated by the telephone network to transmit information. For instance. entering . just enter the desired amount of silence you wish to generate (measured in seconds) and press the OK button. To use.a.3 in the Silence Time field will generate exactly threetenths of a second of silence. Adobe Audition’s DTMF Signals function can generate MF tones as well. . Silence will replace any selected area. “touch tones”) used for dialing telephone numbers over phone lines that are capable of responding to touch tone signals. thereby lengthening the waveform’s duration. To “silence out” a highlighted selection.

and will insert silence for the duration specified in the Pause Time field. DTMF Signals With this option selected. Preview Press this button to audition the current DTMF Signals settings before you apply them to the active waveform. Enter a value (measured in dB) in the Twist field to increase the volume of the higher frequency tone accordingly. More information about Presets can be found in the “Looking at the Work Area” chapter. Twist “Twist” refers to how much louder the higher frequency tone is from the lower frequency tone. 1336Hz. 1100Hz. Select this option to enable the frequency entry boxes on the keypad chart below. The presets in this function save everything.190 CHAPTER 9 Generate Menu – Edit View Dial String This is where you enter the phone number for which you want to generate tones. . Noise This function generates random noise in a variety of colors. Custom This feature allows you to specify the combinations of frequencies to be used in generating signals. You may enter other characters such as the “*” and “#” symbols. Tone Time Enter the milliseconds for which the tones will last. try entering your favorite phone number to generate the tones for it. and 1700Hz. 1477Hz. Amplitude This setting determines the volume level (in percent) of the tones generated. 900Hz. and 1633Hz. MF Signals (CCITT R1) Choose this option to have Adobe Audition generate MF signals (tones that are internal to telephone networks) using paired combinations of the frequencies 700Hz. measured in milliseconds. Your phone will dial the number you entered. To see how effective these tones are. Reset to DTMF Press this button to clear any custom frequency entries and replace them with the standard DTMF frequency combinations. color is used to describe the spectral composition of noise. “b”. 1500Hz. Presets This section allows you to recall and manage DTMF Signals presets. including the dial string. as well as extra digits “a”. Break Time This is the number of milliseconds of silence between successive tones. this is where you enter the length of the pause. Then hold the receiver of your phone next to the speaker and play the wave. 1300Hz. Click in an entry box to change that frequency. Traditionally. and “d”. 941Hz and 1209Hz. 852Hz. Entering the pause character (defined in Pause Character below) inserts a pause of a defined length. Each color has its own characteristics. Pause Time When the pause character is used in the Dial String field. where 100% means maximum volume without clipping. Adobe Audition generates DTMF signals (normal push-button telephone type tones) using combinations of the frequencies 697Hz. “c”. The standard time for DTMF tones is 100ms. Pause Character When you enter this character in the Dial String field. Adobe Audition interprets it as a pause. 770Hz.

• White noise has a spectral frequency of 1. Because the human ear is more susceptible to high frequencies. . rushing river. Color Adobe Audition has the following noise options: • Brown noise has a spectral frequency of 1/f^2. for creating soothing sounds like waterfalls (perfect for use with Adobe Audition’s Binaural Auto-Panner function). It has a fractal-like nature when viewed. equal proportions of all frequencies are present. and thereby lengthening the duration of the waveform. the pattern looks identical to when zoomed out. Pink noise is exactly between brown and white noise (which is why some people used to call it tan noise.and waterfall-like sounds. and the last from the right. A delay of zero is identical to monaural noise. your mind perceives sound coming from all around. When zoomed in. That is. this waveform looks like a mountain range. waterfalls. • Pink noise has a spectral frequency of 1/f and is found mostly in nature. and spatially encodes them to appear as if one is coming from the left. This means. and other natural sounds. but pink was more appealing). plus a small random amount. About 900 to 1000 microseconds correspond to the maximum delay perceivable. or other audio system component. when viewed. pushing any following audio back in time. one for each channel. or for generating signals that can be used to check out the frequency response of a speaker. the next sample in the waveform is equal to the previous sample. Style Choose among the following styles: • Spatial Stereo: If you choose this option. Adobe Audition generates white noise by choosing random values for each sample. wind. the other from the center. enter a delay value in microseconds. Brown noise is so called because. deleting existing audio. and there are many more low-frequency components to the noise. When you listen to it with stereo headphones. except at a lower amplitude. In other words. the wave follows a Brownian motion curve.ADOBE AUDITION 191 User Guide Generate Noise dialog Adobe Audition inserts noise from the current playbar cursor position. where left and right channels are the same. When graphed. in layman’s terms. It is neither random nor predictable. It is the most natural sounding of the noises. Adobe Audition generates Spatial Stereo noise by using three unique noise sources. white noise sounds very “hissy”. This results in thunder. By equalizing the sounds. The left channel’s noise is completely independent of the noise of the right channel. microphone. you can generate rainfall. not just in the center. • Independent Channels: Select this option to tell Adobe Audition to generate noise by using two unique noise sources. that there’s much more low-end. Selecting an area and generating noise replaces the selection. To specify the distance from center of the left and right noise sources. Use noise as the basis for creating weird sound effects.

you can key in the value numerically in the entry box to the right of the slider. Or. When you listen to it with stereo headphones. it’s faster to generate a shorter period (say. using a scale from 2 to 40. With higher intensities.and frequency-related settings. Then copy and loop (using Edit > Mix Paste) as many times as needed. Adobe Audition generates Inverse noise by using a single noise source (similar to the Mono option). Intensity Adjust this slider to specify the noise’s intensity. The tone generated will gradually go from the initial state to the final. Note: For very long periods of noise. Generate Tones Use this function to create a simple waveform. Generating tones is a great way to provide base audio to create impressive sound effects. Adobe Audition generates Mono noise by using a single noise source. with control over numerous amplitude.192 CHAPTER 9 Generate Menu – Edit View • Mono: If this option is chosen. • Inverse: With this option selected. . the noise becomes more erratic. this time the left channel’s noise is exactly inverse of the right channel’s noise. Duration In this field enter the number of seconds of noise you want to generate. The tone generated will gradually go from the initial state to the final. However. with the left and right channels set equally to the same noise source. Generate Tones dialog Initial Settings When the Lock to these settings only box is unchecked. and sounds harsher and louder. the effect is that of the sound coming from the center of your head instead of out in space somewhere. Final Settings When the Lock to these settings only box is unchecked choose this tab to select the final tone settings. choose this tab to select the initial tone settings. about 10 to 20 seconds) and delete excess noise at the beginning and end so that the waves are starting and ending at the midpoint.

modulation. If you start at 90 degrees. if you enter 1Hz. • Uncheck this box to dynamically change the proportion of any overtone over time by choosing the initial and final proportions. (The actual frequency will be this many times the fundamental. If the Lock to these settings only box isn’t checked. modulation. Enter the multiplier for each overtone below the Frequency Components slider(s). modulation frequency. frequency multipliers. Modulation Frequency This is the rate (times per second) at which the frequency modulates. You can generate several effects with these five overtones. use the sliders to mix each of the individual components (0 to 100%) in proportion to one another. . In other words.ADOBE AUDITION 193 User Guide Lock to these settings only Check or uncheck this box as desired: • If checked.) Then. but because of the variance in the perceived energy levels of different frequencies to the human ear. • Phase Difference purposefully allows the left channel to be out of phase with the right channel. Base Frequency This is where you enter the main frequency to be used for sound generation. a 1000Hz tone would modulate between 950Hz and 1050Hz. You can control both channels independently when generating stereo tones. the wave will start at full amplitude (generating a noticeable click as well). Frequency Components Use the Frequency Components controls to add up to five overtones to the fundamental frequency (Base Frequency). and overtone intensities are constant. Copy from Initial Settings This button in the Final Settings dialog copies the tone values from the Initial Settings window to the Final Settings window for editing. this option allows you to control that. Entering a value of 10. If you start at 0 degrees phase. base frequency.100Hz. • Change Rate dynamically changes the relative phase between the two channels of a stereo audio file over time at a given rate. If you are working in great detail with tones and need to have the phase “just so”. Modulate By This setting modulates the Base Frequency in pitch over a user-defined range. Phasing Choose the appropriate phase: • Start Phase is the starting location in the cycle that will be produced. base frequency. the phase difference will cycle through 360 degrees each second. dB Volume Use the db Volume sliders to select the overall gain for each of the right and left channels from -80db to 0dB. and 180 will be completely out of phase. For example. Experiment and have fun. for instance. The overall gain (signal level) may be adjusted with the dB Volume sliders. The tones actually warble in pitch (frequency) as they should. the overtones. they seem to warble in amplitude. Click on the appropriate tab to change Initial and Final settings. all of the values can change over the duration of the audio file. For example. A value of 0 will be completely in-phase. so that they morph from the initial to final settings. they do not vary over time. waves will start at the baseline. and modulation frequency for interesting effects. You may also dynamically change the frequency multipliers. generates tones that seem to warble in amplitude at the rate of 10 times per second. a 100Hz setting modulates the original frequency by +.

• SineFundamental. no harmonics (pure tone) • TriangleOdd harmonics with amplitude of 1 to itself (squared) • Square Odd harmonics with amplitude of 1 to itself • SawtoothAll harmonics with amplitude of 1 to itself Duration This setting lets you enter the length of the generated tone (in seconds). Presets This section allows you to recall and manage Generate Tones presets. . or multiplied. This is great for adding really weird special effects. instead of generating new tones. For instance. the currently highlighted wave data is be “ring modulated”. More information about Presets can be found in the “Looking at the Work Area” chapter. Each flavor has a particular sound unique unto itself.25 in the Duration field will generate tones for exactly one-fourth of a second. • Demodulate: Like Modulate. make sure that a section of the active waveform is highlighted. Source Modulation Choose an option for modulation: • Modulate: With this option checked. which shifts the entire waveform up or down by the specified percentage. Flavor Use this drop-down list to choose the type of waveform to use. Demodulate can be used on a previously modulated source with interesting effects. Demodulate requires a highlighted selection. Preview Press this button to audition the current Generate Tones settings before you apply them to the active waveform. Note: If you check the Modulate option. entering .194 CHAPTER 9 Generate Menu – Edit View DC Offset The DC Offset value entered here adds a constant DC (“Direct Current”) amplitude to the tone. Feel free to use decimals for partial seconds. by the current tone settings. • Overlap (mix): Checking this option will mix the generated tones on top of the selected audio.

3. The right status area directly underneath the graph displays the frequency for the left and right channels measured at the insertion point. uncheck it to display the plot on a logarithmic scale.195 Chapter 10: Analyze Menu – Edit View T he Analyze menu contains functions that give you information about the file or selection being displayed when in the Edit View mode. Linear View Check the Linear View box to display the graph’s plot with a linear horizontal frequency scale. Options Use this drop-down list to select a graphing display option. in parentheses. Up to four frozen frequency outlines may be shown at once. Show Frequency Analysis This command displays Adobe Audition’s Frequency Analysis window. and 4) as a waveform is playing to take a “snapshot” of the waveform’s frequency at that moment in time. It contains a graph of the frequencies at the cursor position or at the center of a selection. . or dock at any one of several places within it. Frequency Analysis Window The Frequency Analysis window can float above Adobe Audition’s main interface. The x-axis (left to right) represents frequency (measured in Hz). while the y-axis (bottom to top) corresponds to the amplitude of the corresponding frequency (measured in dB) on the x-axis. It also shows. Status Areas The left status area directly underneath the graph displays the waveform’s overall highest frequency. The frequency outline (which is rendered in the same color as the button pushed) is frozen on the graph and overlaid on the other frequency line(s). 2. as well as the maximum amplitude for both the left and right channels. Hold Press one of the four Hold buttons (which are numbered 1. press its corresponding Hold button again. To clear a frozen frequency outline. each channel’s musical equivalent note number and positive/negative cents.

. Each window type displays a slightly different kind of frequency graph. the Bars modes show the actual limitations on analysis resolution by splitting the display into rectangular segments. but the sidelobes are very low. and the narrower the bar. this value essentially just scoots the display up or down. Then. In other words. The lines that represent the frequencies are smoothed out. but the area beneath the lines is rendered as a solid color. (You’ll notice that your pointer turns into a magnifying glass. even though they may be much lower in volume. • Area (Right on top): Choose this option to have the right channel appear in front of the left channel in Area mode. Select this option to have the left channel appear in front of the right channel. FFT Size This drop-down list allows you to select from several FFT (Fast Fourier Transform) sizes. At the other extreme. the Frequency Analysis window updates in real time while you play your file. a full scale sine wave will display with its peak at 0dB. • Bars (Right on top): Choose this option to have the right channel appear in front of the left channel in Bars mode. Scan Click this button to scan the highlighted selection and show all frequencies present in that selection. and the left channel appears in front of the right channel.196 CHAPTER 10 Analyze Menu – Edit View • Lines: The waveform’s left and right channels appear as simple lines.) You can also generate a step-by-step animation by clicking on the main waveform window and then holding down the Right Arrow key. Higher FFT sizes give you more accurate results in terms of frequency (such as the overall frequency estimate). with the default value of zero.) Release the right-click button and the zoomin occurs. FFT Window Type This drop-down list lets you choose from six types of FFT windows. Note: When you set the FFT size to 4096 or lower. As the cursor scrolls across the display. • Area (Left on top): The Area modes are similar to the Lines option. The higher the FFT size. CEP displays the spectral information in the Analysis window. the Blackmann-Harris window has a broader frequency band which isn’t as precise. ready to paste into your favorite Windows-based text editor or word processor. Zooming (Frequency Ruler) To zoom in on the Frequency Analysis window’s x-axis (horizontal) ruler – the one that measures frequency – place your mouse pointer over the ruler. (Keep in mind that how well it ultimately updates in real time with these settings is based on your computer’s speed. The Triangular window gives a more precise frequency estimate. For instance. Advanced Press the Advanced button to see additional options. Reference The value entered into this field means that a full scale (FS) sine wave will show up as that amplitude. but are also much slower. making it easier to pick out the major frequency components. right-click and drag to select the area you wish to zoom in on. the greater the analysis resolution. with each channel displayed in a different color. but it’s also the noisiest. • Bars (Left on top): While the Area modes smooth out the lines that represent the frequencies. A value of 30dBFS would mean that a full scale sine wave displays with its peak at 30dB. Copy to Clipboard Press this button to send a text-based frequency report of the current waveform to the Windows Clipboard. This means that other frequencies will be shown as present.

the display will be going in almost all directions. the pointer then changes into a hand. Using a Lissajous Plot graph. Left-click and drag the hand horizontally to scroll the current zoom range forward and backwards. To zoom out. upward sloping from left to right. A menu pops up with two options. • An inverse left channel 180-degrees out-of-phase waveform (the right channel is in phase) will display a line descending from left to right. . • Choose Zoom Out Full to display the entire horizontal waveform or selection in the Frequency Analysis window.) • A mono (in phase) waveform will display as a rising diagonal line from left to right. • A right channel-only waveform will display as a horizontal line. Left-click and drag the hand horizontally to scroll the current zoom range up and down.ADOBE AUDITION 197 User Guide To navigate a zoomed-in frequency display. • Select Zoom Out to get back to the previous view displayed before performing the last zoom-in.) Release the right-click button and the zoom-in occurs. • Choose Zoom Out Full to display the entire vertical ruler in the Frequency Analysis window. • Most stereo audio is generally fuzzy looking. Show Phase Analysis This command displays Adobe Audition’s Phase Analysis window. put your mouse pointer over the horizontal ruler – the pointer then changes into a hand. place your mouse cursor over the horizontal ruler and right-click. place your mouse cursor over the vertical ruler and right-click. A menu pops up with two options. • If audio has very wide stereo separation. Then. it lets you easily see any phase differences between the channels of the current waveform. right-click and drag to select the area you wish to zoom in on. • Select Zoom Out to get back to the previous view displayed before performing the last zoom-in. (You’ll notice that your pointer turns into a magnifying glass. • A left channel-only waveform will display as a vertical line. put your mouse pointer over the vertical ruler. To navigate a zoomed-in frequency amplitude display. To zoom out. Zooming (Amplitude Ruler) To zoom in on the Frequency Analysis window’s y-axis (vertical) ruler – the one that measures the amplitude of a frequency – place your mouse pointer over the ruler. (“Phase” as used here is the amplitude difference between channels.

. M-S Button When the M-S (Mid-Side) button is pushed.left)/2] while the y-axis (vertical) ruler plots the mid channel [(right + left)/2]. all you’ll see on the graph is a single line. a vertical line if it’s the right channel. If used with a mono audio file. Higher sample sizes give you more accurate results. Note: The Phase Analysis window is designed to be used with stereo waveforms only. Samples This drop-down list allows you to select from several sample sizes. but require much more processing power to be effective. Normalize Press this button to make the phase analysis visualization as large as possible so the largest of its edges reaches the graphing window’s boundary. Choose the sample size that produces the best performance for your system. The x-axis (horizontal) ruler plots the side channel [(right . the display is essentially rotated to the left by 45 degrees.198 CHAPTER 10 Analyze Menu – Edit View Phase Analysis Window The Phase Analysis window can float above Adobe Audition’s main interface. Should only one channel of stereo waveform be highlighted. the Phase Analysis window will show a moving straight line as the audio file is played: a horizontal line if it’s the left channel. or dock at any one of several places within it.

ADOBE AUDITION 199 User Guide Statistics The Waveform Statistics dialog displays a wealth of information about the active waveform. It consists of two tabbed areas (General and Histogram) plus a section for RMS settings. Details about each channel of a stereo waveform are clearly shown. Waveform Statistics dialog – General tab .

for example). Peak amplitude is the absolute maximum sample value given in decibel form. measured in percent. Press the [->] button to have the playbar cursor jump to the peak amplitude in the waveform. Press the [->] button to have the playbar cursor jump to the first clipped sample. The Waveform Statistics dialog is automatically closed.200 CHAPTER 10 Analyze Menu – Edit View Waveform Statistics dialog – Histogram tab You can jump to the exact location in the waveform for certain values by clicking on the appropriate arrow button to the right of that value. Peak Amplitude The waveform’s peak amplitude is shown here. DC Offset The measure of the DC (“Direct Current” or center of the waveform) is shown here. The Waveform Statistics dialog is automatically closed. Possibly Clipped Samples This field displays the number of samples which may be clipping (those that reach -32768 or 32767 for 16-bit waveforms. General Tab Minimum Sample Value This field shows the minimum sample values in the waveform or highlighted range. The Waveform Statistics dialog is automatically closed. Press the [->] button to place the playbar cursor at that location. . Positive values are above the center line (zero volts) and negative values are below. The Waveform Statistics dialog is automatically closed. Maximum Sample Value This field shows the maximum sample values in the waveform or highlighted range. Press the [->] button to place the playbar cursor at that location.

This is a good measure of the overall loudness of the waveform selection. it’ll read 0dB if this button is chosen. and more. while the y-axis (vertical) ruler measures percentage. Maximum RMS Power This value is the maximum Root Mean Squared (closer to what the ear hears) amplitude of the waveform that is scanned using a window of the size given below as the RMS Window Width. • Pressing the Right option displays the right channel of the waveform in histogram form. Copy Data to Clipboard Press this button to copy all information displayed in the General tab to the Windows clipboard. Press the [->] button to have the playback cursor jump to the average loudest section of the waveform. (A histogram is a bar chart that shows the distribution of frequencies. Actual Bit Depth The waveform’s bit depth (or “float” if it uses the full 32-bit float range) is reported here. Total RMS Power This figure represents the total power of the entire selection given as RMS amplitude. with heights of the bars representing observed frequencies. Different colors are used to represent each of the two channels. dynamic compression amounts. Press the [->] button to have the playback cursor jump to the average quietest section of the waveform. The Waveform Statistics dialog is automatically closed. the more the graph will show for that amplitude. You can then paste this info into a text editor or any other Windows application that supports pasting of text from the clipboard.ADOBE AUDITION 201 User Guide Minimum RMS Power This value is the minimum Root Mean Squared amplitude (closer to what the ear hears) of the waveform that is scanned using a window of the size given below as the RMS Window Width. RMS Settings Control the display with these settings: • 0dB = FS Sine Wave: If this option is checked. • Select the Left option to see the waveform’s left channel visualized as a histogram. Left/Right Buttons Use the buttons to display the corresponding channels.) This can be useful for determining future amplification amounts. then this means that 0 dB displayed in any of the RMS boxes is equivalent to a sine wave at full scale (with peak amplitude at 0dB – using every sample value in the 16-bit range). The more audio there is at a particular amplitude. Histogram Tab This section displays a histogram of the RMS amplitude values in the highlighted audio selection. . Average RMS Power This figure represents the average power of the entire selection. The Waveform Statistics dialog is automatically closed. The graph shows which amplitudes are most common. If you generate a max amplitude sine wave. The x-axis (horizontal) ruler measures the amplitude in dB.

202 CHAPTER 10 Analyze Menu – Edit View • 0dB = FS Square Wave: If this option is selected. Account for DC If this box is checked. Recalculate RMS After adjusting the Window Width value. you would want to account for DC.02dB louder than a full scale sine wave. even a signal that is total silence. Some users expect a full scale square wave to be 0dB. but has a high DC offset. then a full scale square wave will read out as 0dB for the RMS. when calculating the RMS values. . a quiet signal that is well above the center line) then the actual RMS signal amplitude is actually quite small. which may not be what you want. will read as having a high RMS. these RMS boxes will adjust by about 3dB when you toggle between them. Window Width Adobe Audition measures the RMS over a window (measured in milliseconds) of this size when calculating the RMS minimum and maximum values. So. but could read much higher because of the DC amount. This means that if your signal has a DC offset (say. while others expect a full scale sine wave to be 0dB. the DC offset found is subtracted out before doing the RMS calculation. for the most accurate signal-relative RMS readings. Since a full scale square wave is about 3. click this button to recalculate the RMS values based on the new window size. Otherwise.

and organize items that appear in Adobe Audition’s Favorites menu. You may create hierarchical menus by using a backslash. and even third-party tools (the latter using command line executables). Edit Pressing this button allows you to modify the properties of a highlighted entry in the Favorites list. scripts. delete. and save your favorite Adobe Audition effects. Up This button moves the selected item up in the list. The order of this list is the same as in the Favorites menu. Edit Favorites Dialog New Press this button to enable the fields in the Properties area of the Favorites dialog so that you can create a new Favorite. Down This button moves the selected item down in the list. . All of the favorites you create appear on this menu. You can also categorize the menu items into hierarchical submenus for easy organization.203 Chapter 11: Favorites Menu – Edit View T he Favorites menu allows you to create. customize. edit. Edit Favorites This command brings up the dialog where you create. For example My Delays\Hall Reverb places the item under Hall Reverb in the My Delays submenu. The order of this list is the same as in the Favorites menu. Delete This button deletes the highlighted Favorite. Name Enter the name of a created Favorite in this field.

Cancel A press of this button cancels the current Favorites edit and disables the fields in the Properties area. Just select the desired item. Clear Press this button to remove the entry in the Press new shortcut key field.g. Num Lock. Edit Settings Click on this button to call up the settings window that corresponds to the particular Effects or Generate function. Uncheck the Show Dialog box to automatically use the chosen settings to run the function. and Enter keys. Tab. . press the desired key(s) to use for the Favorite’s shortcut key. Note: If the shortcut key you choose is already in use elsewhere in Adobe Audition. You can also enter any text you would like the Favorites menu to display. Caps Lock. The text will be nonfunctional.. of course. Press new shortcut key You may assign a key or combination of keys to act as a shortcut to any of your Favorites.g. For instance. To create a separator bar for a submenu. enter the submenu path first (e. you can use the Ctrl. enter a series of dashes (e. The last used settings for the item chosen appears in a window just below the Effect list.. or change the text so that it doesn't match something already in the list. Shift. “------”) into the Name box. you’ll be alerted with a dialog box and given the opportunity to overwrite the current shortcut key assignment.204 CHAPTER 11 Favorites Menu – Edit View To place a separator bar into the Favorites list to separate one function type from the others. and Alt keys (or any combination of the three) to act as the first part of a multiple key shortcut. The settings dialog will show the settings you chose in Edit Settings…. With your text cursor in the Press new shortcut key field. Use Current Settings Check this option to apply to the Favorite the settings last used for that particular Effects or Generate function. Scroll Lock. Note: Make sure you do this before you press the Favorites dialog’s Close button. Show Dialog Check this box to bring up the settings dialog for the particular Effects or Generate function when you call the Favorite. Copy From Last Press this button to copy all the settings from the last Effects or Generate function that was started successfully. the 2 after the dashes will be ignored. “My Effects\------”). Adobe Audition gladly accepts most single key shortcuts. If you want more than one separator. enter a different number of dashes. You can then change the settings to be used when this item is chosen from the Favorites menu. (The most notable exceptions are the Print Scrn.) However. Save Press this button to save a new or edited entry to the Favorites List. Function Tab Audition Effect All of the items on Adobe Audition’s Effects and Generate menus appear on this drop-down list. “------2” is considered a valid separator.

. 6 Press the Edit Settings…button. Help Tab This area provides instructions for adding separators and submenus to the Favorites menu. The small button to the left of the field brings up a dialog that lets you browse your system for the desired program. Pause at Dialogs If checked. 8 Make sure the Show Dialog box is unchecked. push the New button.ADOBE AUDITION 205 User Guide Script Tab Script Collection File This displays the current script collection in use. The next time you want to fade out a portion of a waveform.scp) file. 5 From the Audition Effect drop-down list in the Function tab. Select Amplitude\Amplify. Tool Tab Command Line Enter the command line for the tool you want to run here. the entire script will run to completion before control returns. Otherwise. 9 Press the Save button to add Fade Out to the Favorites list and press Close. including any command line switches the particular tool may need. which will display the Amplify effect dialog. the script stops at each settings dialog to allow you to modify the values. The small button to the left of the field brings up a browse dialog that allows you to choose an Adobe Audition script collection (*. 4 Check the Alt box and select F7 from the Hot Key drop-down list. Choose the particular script you want to run. 7 Choose Fade Out from the Amplify dialog’s list of Presets and click OK. just highlight it and press Alt+F7. To add a Fade Out function to the Favorites List and give it the hotkey of Alt+F7: 1 Select Edit Favorites… from the Favorites menu. 2 On the Favorites dialog that appears. 3 In the Name field. type Fade Out (without the quotes). Script This drop-down list contains all scripts available in the selected collection.

206 CHAPTER 11 Favorites Menu – Edit View .

When that time period is up. batch-processing functions. • When Loop Mode is checked. the Play control plays the selection (or file) once and then stops playback. pressing the Record control on the transport toolbar will bring up a dialog box prompting you to enter the recording time.207 Chapter 12: Options Menu – Edit View T he Options menu gives you access to Adobe Audition’s configuration options. if nothing is selected). Start Recording • Right Away: Choose Right Away and Adobe Audition will begin recording as soon as the OK button is pushed. • Recording Length: If the Recording Length option is selected. system settings. either until the Stop control is pressed. Upon pressing OK. Loop Mode The Loop Mode option toggles Adobe Audition’s Play control between Loop and Play states. pressing the Play control will continuously loop the current selection (or the entire file. . With the Timed Record option checked. Adobe Audition will be placed into record mode. or to specify a time when Adobe Audition will auto-start and stop recording. the recording is automatically stopped. Timed Record Dialog Maximum Recording Time • No Time Limit: Select No Time Limit and Adobe Audition will record until you tell it to stop (or when it runs out of free hard disk space). or the time length has expired. • When there is no checkmark. Adobe Audition will record for the period of time entered in the Recording Length text box. Timed Record This option can be used to set a finite time limit allowed when recording. and more.

Use the drop-down list to select the input device to be used for triggering. Recording will then continue for the length given. MIDI Trigger Enable By checking MIDI Trigger Enable. Note: Before attempting to enable MIDI triggering.wav would also have 0:01:00 to 0:02:00 highlighted.208 CHAPTER 12 Options Menu – Edit View • Time/Date: If you want the recording to begin at a future time (for instance. cause the Level Meters to go away. a sequencer. select the time/date option. the record button will blink. Show Levels on Play and Record This item enables or disables Adobe Audition’s Level Meters. To do that. It doesn’t. Upon pressing OK. To do this. which is useful for setting levels before recording. go to the View menu and uncheck Show Level Meters. To quit monitoring. press the Stop control or uncheck Monitor Record Level on the Options menu. go to Options > Device Properties… and click on the MIDI In tab. and recording will start when your computer’s time reaches the time specified. to have Adobe Audition capture a radio broadcast at a certain time). Disable this option if you don’t wish to have shortcuts respond to MIDI events. For example. . however. This can be useful if you’re switching between different versions of the same waveform during editing. or when Adobe Audition runs out of available hard disk space. 2. any of Adobe Audition’s shortcuts that have been assigned to MIDI events can be called from a MIDI keyboard. Use the F10 key to quickly turn on and off the Level Meters. the playback cursor bar or currently highlighted selection will retain its position when switching between open waveforms within Adobe Audition. which are used to visualize audio levels during recording and playback.wav using the Window menu or the Organizer window. until it’s stopped manually. if you are looking at 1. Monitor Record Level Checking this option will activate the Level Meters and start monitoring the recording source. such as a soundcard’s built-in MIDI interface or a MIDI interface card. Synchronize Cursor Across Windows With this command check-marked. you’ll need to choose a device for MIDI In that’s recognized by Windows. Fill in the starting time and date in the appropriate fields.wav and highlight from 0:01:00 to 0:02:00 and then switch to 2. or any other device capable of issuing a MIDI command. and choose the desired time and date options.

• Scripts that work on the current audio file. etc. ready to be repeated in the same sequence when recalled. These scripts start with no waveform opened. . Windows Recording Mixer Select this command to display the Record Control part of the Windows Mixer (a. to be carried out again by simply calling the script. Scripts & Batch Processing Adobe Audition scripts allow you to save a series of actions (such as a cut/paste or applying an effect) to be performed again with the click of a button. It requires a file to be opened. You can record these steps. Scripts – which are simple text files – are similar to macros. the positions of each of the waveform’s previous cursor or range areas will be retained and redisplayed.a.) that you like to apply often and in combination to achieve a certain sound. The type created depends upon Adobe Audition’s state when you initiate the recording: • Scripts that start from scratch. If the waveform that you’re switching to doesn’t contain the currently selected time location (as in a . in our example). along with specific settings. and will affect any data present at that point. Scripts and Batch Processing Dialog As an example. This type of script operates on the entire waveform.5 sec waveform. suppose you have a combination of effects with particular settings (an EQ setting. then switching acts this way as well. the exact movements of your mouse and any tweaking of parameters are stored. and their first command is File > New. but with no selection made. There are three types of scripts. Volume Control) so that you adjust sound card recording levels.k. Actions begin at the playback cursor position in the waveform. a Hall reverb.ADOBE AUDITION 209 User Guide When unchecked.

Open/New Collection Pressing this button brings up a standard Open dialog with which you can browse your system’s folders for script (*. Execute Relative to Cursor When using Works on Current Wave types of scripts. before the script was recorded. Note: The text in the Script Collections field will not reflect the name change until you reload the script. press the Edit Script File button. The Windows Notepad applet will be launched with the script file loaded. save the file. navigate through the dialog to the folder that you would like to save the ..scp) files. Alert when complete If this option is checked. Batch Run A single script can be run repeatedly over a group of source files. Then. check this option to have all script operations performed relative to the original positioning. This type requires a highlighted selection to be made. The Batch Run button is only selectable if a script of this type is selected from the Scripts List. To create a new script collection. trying to a Script Starts from Scratch script with a file open). Look for the Collection: entry (it’s on the first line of the script file) and overwrite New Collection with your new title.scp file. save the file. leaving the rest of the waveform untouched. there must have been an open waveform (perhaps blank) and no highlighted selection.scp file to open that script collection. and enter a name for it in the File Name: field. as opposed to at the original position. Note: The text in the Script Collections field will not reflect the name change until you reload the script. Highlight a script in the list before you edit or run it. Note: For more information. Run Script Click on this button to run the currently selected script. allowing you to modify the values of that function. a dialog will signal the completion of the script. press the Edit Script File button. All actions in the script pertain only to the portion that is highlighted.e. Scripts List This area lists the names of all scripts in the currently opened collection. If the collection in use hasn’t been named. Pressing OK will continue it. Pause at Dialogs Check this option to have the script stop at each dialog. the script won’t run until Adobe Audition’s condition matches the requirements (in this case. If the script type isn’t compatible with Adobe Audition’s current state (i. The script must have been recorded in a Works on Current Wave mode – that is. To name a script collection. To name a script collection. The Windows Notepad applet will be launched with the script file loaded. press Open to save the script file. Double-click an existing . It will then be ready for use in a new script collection. Then. . see the section on Batch Processing later in this chapter.210 CHAPTER 12 Options Menu – Edit View • Scripts that work on a highlighted selection. Pressing Cancel in any dialog will stop the script. closing all open files). Next. New Collection will be displayed. Script Collections This text area displays the title of the currently opened script collection. Look for the Collection: entry (it’s on the first line of the script file) and overwrite New Collection with your new title.

Check this box to apply the script at the current cursor location. a selection of a waveform. see Batch Process. For example. Note: The only time you can enter a description in this box is after recording – not before and not after it’s been added to a script collection file. Add to Collection Pressing this button will add the script you’ve just created to the currently open script collection. Clear If you don’t wish to add the script you’ve just recorded to the collection. plus 10 seconds. Script Works On Current Wave. if you wish to make a script that starts from scratch. you must first supply a title here.ADOBE AUDITION 211 User Guide For example. For more information. Note: Again. click on the Record button to begin capturing the script’s steps. record the script at a 0:00:00 position and check this option. There are three possible script types: Script Starts from Scratch.) With this option unchecked. Each operates respectively on either the entire waveform. do so in the description text area below before pushing this button. you may enter a description in this text area for the script you’ve just recorded. for instance) will be allowed to run. Note: While all scripts will be displayed in the script list. the script will be performed at the original location (0:10:00 in our example). you’ll need to edit the script by pressing the Edit Script File button. simply match Adobe Audition’s current state with that of the target for the script. return to Adobe Audition’s Scripts and Batch Processing dialog and press Stop Current Script. . This button is only available immediately after pressing Stop. To have a script which you’ll likely execute at the current cursor position. to create a particular type of script. If you want to edit the description thereafter. leaving the other two “grayed out”. only scripts whose type matches your current status (open waveform with a highlighted selection. close all open waveforms before recording the script. or from scratch. If you want to remove a script after it’s been added. press the Edit Script File button to bring up the Windows Notepad applet with the script collection file loaded. push the Clear button. Edit Script File This will open the currently loaded script collection in the Windows Notepad applet for editing. suppose you have a script which was originally recorded with a cursor position at 0:10:00. Record After titling your soon-to-be script. The type of script currently selected will darken. Keep in mind that if you wish to supply a description for the script. Stop Current Script After completing all of the steps to be included in the script. and Script Works on Highlighted Section. Description Immediately after recording a script. Title Before creating a new script. A single script can be run on a batch of files by pressing the Batch Run button. Script Type These three fields indicate what type of script is currently highlighted in the Scripts List. the results would be at 0:15:00. The description will appear in a non-editable form when you highlight the script to run. (If your cursor is at 0:05:00.

press the Batch Run button on the Scripts and Batch Processing window. allowing you to add files or folders to the batch for processing. Select the destination folder by typing in its path in this field or by pressing the Browse… button. or the CTRL key for noncontiguous selections. or the CTRL key for noncontiguous selections. To remove multiple files from the list.212 CHAPTER 12 Options Menu – Edit View Batch Process Use this part of Adobe Audition to run a single script repeatedly over a group (batch) of source files. Remove This button removes any selected files from the Source Files list. Batch Process Dialog Note: In order for a single script to be run on a batch of files. the script must have been recorded in the Script Works on Current Wave mode. the waveforms can be different formats. hold down on the SHIFT key for contiguous selections. If desired. Destination Folder This is the folder to which the processed files will be saved after the script has been run on them. there must have been an open waveform (perhaps blank) and no highlighted selection. . hold down on the SHIFT key for contiguous selections. To open the Batch Process dialog. Here are the major components of the Batch Process dialog: Source Files This is the list of files you want to include in the batch for processing. To add multiple files or folders to the list. before the script was recorded. That is. The Batch Run button will only be selectable if a script of this type is selected from the scripts list. Add Files This button brings up Adobe Audition’s Please choose the source files dialog.

au bartx. Plus. You can. regardless of whether a file of the same name already exists at this location. .aif toads. *. but skip it instead.ADOBE AUDITION 213 User Guide Output Filename Template The names of files in your batch can be modified before being saved to the Destination folder. files will always be saved to the Destination folder after performing the script.wav q*. the options can be set for the output format.* ????.wav * .au bart. as well as enter any appropriate options for the target format by pressing the Change Options… button.voc b???????. You may choose from any of Adobe Audition’s supported file types. Change Options Press this button to view options (and optionally change them) for each highlighted sample type setting in the Format Options box. the processed file’s extension will automatically change to that of the format chosen using the Output Format control (for instance. however. • If this box is unchecked. if available.mp3 bigl.wav Output Format This selects the file format that all processed waveforms will be saved to. When running a batch. Unless the script was written expecting the Undo function to be enabled. Overwrite Existing Files Check or uncheck this box to control overwriting. it speeds up processing since undo information doesn’t continually need to be saved on your hard drive. Here are some examples of how filenames will be saved given the original file name and the filename template: zippy.mp3 biglong. Disable Undo Check this box to disable the saving of undo information for the duration of the batch run.aif for Apple AIFF). There are two characters to use when altering the Output Filename Template: • A question mark (“?”) will signify that a character doesn’t change.voc bunny. the batch will not even attempt to run the script on the file in question.wav qtoads. and the destination filename already exists. Scan List Pressing the Scan List button causes Adobe Audition to look through all of the files in the Source Files list and examine their sample rate. After this is done. bit depth.pcm funny.au * x. force another extension or alter the first part of the filename by using the Output Filename Template. depending on the properties of the input. Note: You would almost always use the Scan List button (described below) before clicking on Change Options. channels and file type.wav zippy. • With this option checked. this is a completely safe thing to do. • An asterisk (“*”) will denote the entire original file name or entire original file extension.

channels. Pressing the Open Raw PCM As… button allows you to define a global file type for interpretation in such cases. and miscellaneous other settings in Options > Settings. use of memory and hard disk space. If you want to convert several files from one format to another (say. as well as parameters for auto-play. General Tab The General Tab of the Settings dialog provides controls for adjusting Adobe Audition’s mouse behavior. a tip about program operation is displayed whenever Adobe Audition is launched.mp3). then Adobe Audition’s Batch Processor needs to know what file type to assume for the data. or in a raw format without any header information. and more. live update. spectral view. If you’d rather not see a tip when Adobe Audition loads. This ensures that the batch process will run continuously without interruption by dialogs asking for input data formats on headerless files. See below for information on the individual settings available. you will need to set the sample rate.214 CHAPTER 12 Options Menu – Edit View Open Raw PCM As If a source file is unreadable. try using File > Batch File Convert instead. Begin Press this button to begin batch processing all files in the Source Files list. and formatting.wav to . auto-scroll. behavior when pasting. resolution. The General Tab of the Settings Dialog Show Tip of the Day When this box is checked. . from . Settings You can customize Adobe Audition’s colors. Pressing the F4 key is a fast way to display the Settings dialog. uncheck this box.

Mouse Cursor Over Display Choose whether you want your mouse pointer to appear as an arrow or as an I-beam when it’s over the waveform display. Live update during recording This enables live waveform drawing while recording. Mouse Wheel • Zoom Factor: This is the amount to zoom in when rotating the mouse wheel found on Intellipoint-compatible pointing devices. . holding down the Ctrl key when moving one of Adobe Audition’s dockable windows prevents the window from docking. checking this option will automatically play a file that has been specified on the command line. Upon a manual scroll/zoom/selection change: When a manual scroll. However. and play past the viewed portion (by pressing Shift+Play. three options are available: You can abort auto-scrolling until the next time you play or record. if you find the recorded audio becoming choppy. The flat look will take effect the next time you start Adobe Audition. In the Edit View’s Spectral View mode. leave this option disabled. Values from 10% to 80% work well. For example.exe thisfile. This only affects when you are zoomed in on a portion of a waveform. a zoom. Restore Default Window Layouts Press this button to reset all window sizes and positions to Adobe Audition’s default arrangement. Check this box if you’d prefer to disable this behavior. uncheck this box. if you go to the Run dialog in the Windows Start menu and enter “c:\cool\coolpro.wav” as your command line. Ctrl key allows dockable windows to dock By default. Custom Time Code Display This field is used to define the number of frames per second (FPS) assigned to the Custom time format in the View > Display Time Format menu. you can have the waveform displayed in real-time as audio is being recorded.ADOBE AUDITION 215 User Guide Use shiny look If you’d prefer that certain elements of Adobe Audition’s interface (toolbar buttons mostly) take on a flatter look. the further you’ll zoom in when you roll the mouse wheel. or resume auto-scrolling immediately. resume autoscrolling only when the play cursor enters the view. While there aren’t any performance benefits to not using the default shiny look. and at lower spectral resolutions (around 256) a nice scrolling spectral plot can be performed while recording with this option on. Auto-scroll during playback and recording If enabled. or a selection change occurs in Adobe Audition. The higher the value. Edit View Right-Clicks These options let you decide the behavior for a right-click in the Wave Display of the Edit View. On faster machines. the waveform display will scroll in sync with playback.wav. then Adobe Audition will launch and begin playing thisfile. Choose the one that best suits your needs. Adobe Audition might look better if your video display is set to 256 colors. Auto-play on command-line load When launching Adobe Audition. for example).

Highlight after Paste When performing a Paste operation (including Mix Paste). Double-clicking always selects the current view. the area that’s automatically selected is limited to the area you can currently see on screen. or to have the cursor placed at the end of the pasted selection. The System Tab of the Settings Dialog . hold down the Ctrl key as you right-click. • Entire Wave: When you choose this option. you can elect to have the inserted selection automatically highlighted. right-clicking in the Edit View’s Wave Display will let you extend the edge of a waveform selection instead of displaying the pop-up menu. To see the pop-up menu. • View: If this option is selected.216 CHAPTER 12 Options Menu – Edit View • Popup Menu: When right-clicking in the Wave Display. • Extend Selection: If you check this option. System Tab Adjust the options in this section of the Settings window to tell how Adobe Audition should interact with your system. a menu will pop up if this option is selected. You can then use Shift+Left-Click to extend a selection. Default Selection Range This setting refers to the amount of waveform data that automatically gets selected (if nothing is already highlighted) when you go to apply an effect. the entire waveform is automatically selected. one after the other. Check this box to enable highlighting. Triple-clicking always selects the entire waveform. Leave this option unchecked for easier multiple pastes. even if you’re only viewing a portion of it.

Think of it as a virtual “safety net”. Recommended cache sizes are from 8192KB to 32768KB (8192KB is the default). Press the “->” button to browse your system for the folder. You will need to have enough space available in these folders to accommodate the total size of al the audio files you wish to edit simultaneously. • Use System’s Cache: Check this box to let Windows handle all disk caching. Use the two fields in the Play/Record Buffer area to reserve more memory for recording and playback by entering a higher buffer size. If you experience breakups in your audio. Adobe Audition’s Undo feature lets you revert back to your last edit with the press of a hotkey (Ctrl+Z).ADOBE AUDITION 217 User Guide Play/Record Buffer Different sound card drives can require different memory buffer settings. this option reserves the least amount of memory. Undo Everybody makes mistakes or changes their mind. Press the “->” button to browse your system for the folder. and reserves for it the amount of memory (measured in MB) specified in the Cache Size field. you can try to remedy it by adjusting the buffer size used. Keep in mind that Adobe Audition usually handles caching better than Windows can. it does so at the expense of taking more of your computer’s memory. Note: Providing you have enough free space on the drive that holds the primary temporary folder. Keep in mind that while a greater buffer size will allow for increased multitasking when audio is being played. you may need to adjust the buffer size or number of buffers used. For best results. Wave Cache Adobe Audition maintains its own data buffer. both in seconds and a number of buffers. . this should be on a different physical hard drive than the primary temp folder.) Keep in mind that a larger Minimum Preview Buffer Size will require more of your computer’s memory. Temporary Folders Adobe Audition creates temporary files for use when performing edits on your audio. Different sound card drives can require different memory buffer settings. Adobe Audition’s default settings should work find for most sound cards. or type its path in the field provided. menu command. • Temp Folder: This is where you specify Adobe Audition’s main temporary folder. However. (Choppiness can be caused by insufficient processing power as well. Preview Buffer This is the minimum buffer size to be used when sending data to your sound card for the real-time Preview feature found in many effect dialogs. but if you hear “choppiness” (skips or dropouts) in recording or playback. The default value is 1000 milliseconds. If you hear “choppiness” (skips or dropouts) when you use the Preview feature. • Secondary Temp: This is where you specify Adobe Audition’s secondary temporary folder. Use the reserve free fields to specify an amount to leave available for headroom purposes for both the primary and secondary temporary folders. or type its path in the field provided. Adobe Audition will work just fine if no Secondary Temp folder is specified. or you can’t stop a recording in progress. Ideally it should be on your fastest hard drive. so it may be desired for systems with low amounts of RAM. non-compressed hard drive. increase the buffer size or switch to a faster. or toolbar button. Use these two fields to specify the paths to folders in which these files will reside.

Don’t enable it unless you have a problem with Adobe Audition’s quick save function. It’s generally a good idea to leave this option enabled. and time to save them before processing. Adobe Audition automatically purges its clipboard files when it’s closed. Because Undo requires extra desk space for its temporary files. If you force flushing before saving. Adobe Audition quick saves a file if only a small portion of the file was modified. • Purge Undo: Push this button to delete all of Adobe Audition’s Undo files. Uncheck this box to retain Adobe Audition’s clipboard files on your hard drive after you exit the program. Normally. This option is disabled by default. It was added for users who have problems saving back to the same filename. Delete Clipboard files on exit If this option is checked. The Colors Tab of the Settings Dialog . Force complete flush before saving When checked. Adobe Audition must first make a backup copy of the file internally and then write the entire file back during the save process. This will free up disk space. Colors Tab Don’t care for Adobe Audition’s default color scheme? This section of the Settings window is where you can customize its interface’s various hues and shades to your heart’s content. but you won’t be able to revert to any previous edits. this option disables Adobe Audition’s quick save feature. these clipboard files are no longer needed and would just take up valuable hard disk space. sometimes you may want to turn this feature off by unchecking this box. since nearly all of the time when you’re finished with an Adobe Audition session. the Undo function is active.218 CHAPTER 12 Options Menu – Edit View • Enable Undo: If this box is checked. Enabling this option will increase the save time considerably for large files. • Levels (minimum): Specify the least amount of Undo levels in this field.

Positive numbers make the display brighter. the example to the right will change to reflect the newly chosen color. the example to the right will change to reflect the newly chosen color. Waveform Tab This list contains all of Adobe Audition’s waveform elements which can be given custom colors. while negative numbers darken the display. The Transparency controls are disabled. Selection The controls in this section are used to adjust the appearance of the selected (highlighted) portions of a waveform when shown in spectral display. You may also directly enter a percentage in the box to the right of the slider. The currently selected color scheme will be displayed in the Example window.ADOBE AUDITION 219 User Guide Color Scheme Presets Most color assignments in Adobe Audition can be adjusted to your liking and saved as a preset for later recall. • Transparency: Use this slider to adjust the transparent value (measured in percentage) of a selection. The Transparency controls are disabled. • Invert: Check this box to have the selection colors be the inverse of the non-selected colors. • Invert: Check this box to have the selection colors be the inverse of the non-selected colors. After the new selection has been made. The value entered adjusts the overall brightness of the Spectral View. simply select it from the list. 0 is no trans- parency. Pick an item from the list and press the Change Color… button to bring up a dialog for adjusting the element’s color. similar to an Invert or Negative command in a photo editor. To choose one. You may also directly enter a percentage in the box to the right of the slider. Choose an item from the list and press the Change Color… button to bring up a dialog for adjusting the element’s color. Spectral Tab This is where you can adjust the display parameters for Adobe Audition’s spectral display. Delete Clicking this button deletes the currently highlighted color scheme preset. This drop-down menu contains all of the presets that come with the program as well as the ones you’ve created yourself. Save As Press this button to save the currently selected color scheme as a preset. • Gamma: This setting works just like the Gamma function in many image editors. while 100 is maximum transparency. The example to the right dynamically changes as you make modifications. . while 100 is maximum transparency. 0 is no trans- parency. Selection The controls in this section are used to adjust the appearance of the selected (highlighted) portions of waveforms and blocks. Spectrum Choose one of these options: • Reverse Direction: This option inverts the normal colors of the spectrum display. • Transparency: Use this slider to adjust the transparent value (measured in percentage) of a selection. After you’ve made your selection. The example to the right dynamically changes as you make modifications.

Segmented Progress Bar Select this option to have Adobe Audition’s progress bar (which is seen when you run an effect or open/save large waveforms) appear segmented instead of solid. After the new choice has been made. the example to the right will change to reflect the newly chosen color. dockable windows will take on your system’s 3D color (the same color that Windows uses to render most of the other windows on your system). • Used darkened system 3D color: Check this option to have dockable windows use the darkened version of your system’s 3D color. • Use specified 3D color: Enabling this option will cause Adobe Audition’s dockable windows to take on the 3D color you specify. press the Change Color… button to access the Adobe Audition Color dialog to select a new color. The Display Tab of the Settings Dialog . White Progress Background Check this box to make the background of Adobe Audition’s progress bar white. Dockable Windows Select one of these options to decide how Adobe Audition’s dockable windows will look.220 CHAPTER 12 Options Menu – Edit View Controls Tab This window lists the Adobe Audition control elements which can have their colors changed. • Use system 3D color: With this option checked. Display Tab In this area is where you choose options for Adobe Audition’s Spectral View and Waveform View modes. Select an item from the list and press the Change Color… button to bring up a dialog for adjusting the element’s color. make sure Dockable Windows 3D Color is highlighted in the controls list. To change the 3D color. Then.

connecting the arrows from the top to the bottom of the display.ADOBE AUDITION 221 User Guide Spectral Display Choose an option: • Windowing Function: This drop-down list lets you choose the method Adobe Audition uses to window the spectral data before it displays it. Liner Energy Plot can be useful for viewing the general overview of a signal without getting bogged down by detail at much quieter levels. So the display will become more accurate along the timeline (left and right) and less accurate along the frequency scale (up and down) as the window width decreases. . but you should lower the value (50 to 75 works best) if you want to increase the resolution horizontally. uncheck the box to hide them. Blackmann or Blackmann-Harris are good choices. and can be thought of as a sensitivity value.wav files. especially if the Range is quite high (above 150dB). Plot Style Choose an option: • Logarithmic Energy Plot: In this mode. colors change with the decibel value of the energy at any particular time and frequency. The grid lines mark off time on the horizontal x-axis and amplitude on the vertical y-axis. colors are chosen based on percentage of maximum amplitude instead of decibel amplitude. Boundary lines are the horizontal lines that visually indicate where the waveform’s amplitude approaches or exceeds the clipping level. The center lines represent zero amplitude of the waveform’s right and left channels. • Show Boundary Lines: Check this box to display the boundary lines in Waveform View. • Window Width: This is the width of the window (or frame size) used in plotting the spectral data. and can make file loading almost instantaneous by greatly reducing the time it takes to draw the waveform (especially with larger files). uncheck the box to hide them. • Linear Energy Plot: If this option is selected. the longer it will take for Adobe Audition to render the spectral display. uncheck the box to hide them. such as to find out exactly where a certain frequency starts. Performance will vary based upon the speed of your computer.pk) files store information about how to display . where 100% is a frame size of your FFT size. Window Width basically lets you increase time resolution at the expense of some frequency resolution. • Show Grid Lines: Check this box to display the grid lines in Waveform View. More details in the very quiet ranges can be seen in this mode. The Scaling factor can be adjusted to highlight audio of different intensities. Waveform Display Choose an option: • Show Cue and Range Lines: Check this box to display the cue marker and range lines in Waveform View. The value in the Display Boundary Lines at box specifies at which amplitude you’d like the boundary lines to appear Peak Files Adobe Audition’s peak (. Keep in mind that the larger this number is. • Resolution: This setting specifies the number of vertical bands to be used in drawing frequencies. Use the Range value to adjust the sensitivity in plotting frequencies. Cue marker and range entries in the Cue List are shown with vertical dotted lines overlaying the audio. uncheck the box to hide them. The windows are listed in order from the narrowest frequency band/most noise to the widest frequency band/least noise. The default setting is 75%. • Show Center Lines: Check this box to display the center lines in Waveform View.

• Save Peak Cache Files: If this option is enabled. The Data Tab of the Settings Dialog Auto-convert all data to 32-bit upon opening If this item is checked. and all subsequent operations will keep the data in the 32-bit realm.wav files as 16. Interpret 32-bit PCM .pk following the original audio filename. Data Tab The controls in this area of the Settings dialog have to do with the way Adobe Audition handles audio data. If RAM is an issue on your system.8 float (compatibility with old Cool Edit format) Checking this option causes this version of Adobe Audition to be compatible with previous versions when it comes to handling 32-bit PCM . Uncheck this box if you don’t want Adobe Audition to save peak files on your hard drive.222 CHAPTER 12 Options Menu – Edit View • Peaks Cache: This value determines the number of samples per block to be used when storing peak files. [[how should we handle reference above to Cool Edit?-GS]] . you should consider increasing the Peaks Cache to 1024 or even 1536 or 2048. all .wav files. and you’re working with very large files (several hundred megabytes or more in size). Larger values will reduce the RAM requirement for large files at the expense of slightly slower drawing at some zoom levels.wav files will have peak files saved with them (in the same folder) with the extension . • Rebuild Wave Display Now: Press this button to have Adobe Audition rescan the current file for sample amplitudes and redraw the waveform. all 8-bit and 16-bit data is automatically converted to 32-bit when a file is loaded.

dithering provides a higher dynamic range and cleaner results. thus losing the more subtle information. • A lower quality setting requires less processing time.ADOBE AUDITION 223 User Guide Dither Transform Results (increases dynamic range) Check this option to enable dithering when processing effects such as FFT Filter or Amplify. In general. both methods produce identical audible results in every respect. allowing signals as quiet as -105dB. leading to muffled-sounding audio. The default value is 80. non-symmetric dithering just toggles between 0 and 1. the trade-off between using dither (thus adding noise) and truncating the data (thus creating artifacts and correlated quantization noise) generally favor using dither. but will result in certain high frequencies being “rolled-off ”. However. With dithering. If unchecked. During this conversion. • Pre-Filter: To prevent any chance of aliasing. Most processing done by Adobe Audition uses arithmetic greater than 16-bit. However. thus preventing audible clicks when filtering small portion of audio. Smooth Delete and Cut Boundaries Check this box to have Cut and Delete operations smoothed at the splicing point. Because the filter’s cutoff slope is much steeper at higher quality settings. Sometimes in a final dither. • Downsampling quality level: Enter a value (30 to 1000) for downsampling quality. the results are truncated to 16 bits when converting back. When enabled. This will prevent audible clicks at these locations. Symmetric dithering has just as many samples added above zero as below zero. This will smooth any abrupt transitions at these endpoints. By contrast. Auto-convert settings for Paste When pasting different sample formats. a DC offset of one-half sample will be added each time something is dithered. Smooth all edit boundaries by crossfading When applying an effect. as the dynamic range is increased by another 10dB or so. If this option is disabled. • Upsampling quality level: Enter a value (30 to 1000) for upsampling quality. the pre-filter on downsampling will remove all frequencies above the Nyquist limit. enable this option to automatically apply a crossfade to the starting and ending boundaries of the selection. • Higher values retain more high frequencies while still preventing the aliasing of higher frequencies to lower ones. so it’s best to leave this option enabled. Adobe Audition uses these settings when autoconverting the clipboard to the current sample format. Valid settings range from 30 to 1000. with less distortions and negative artifacts. the addition of dither retains this subtle information. The drawback is that with each operation a small amount of white noise is added at the quietest volume level. this may be desired to reduce the bit range of the dither. • Higher values retain more high frequencies while still preventing the aliasing of higher frequencies to lower ones. You can enter a value (in milliseconds) in the crossfade time box to specify the crossfade duration to be applied. . Use Symmetric Dithering Normally you would leave this option checked. you get almost 24-bit sample performance in only 16-bits. with the results converted back to 16-bit when complete. this box should be checked for best results. the chance of ringing at high frequencies is greater. Usually values between 80 and 400 do a great job for most conversion needs. thus keeping them from generating false frequencies at the low end of the spectrum.

The difference lies in the larger phase shift that exists at higher frequencies. as the dynamic range is increased by another 10dB or so. This allows signals as quiet as -105dB. You should use high quality settings whenever you downsample from a high sample rate to a low rate. Downsampling. Allow for partially processed data after canceling effect This option decides what happens after you hit the Cancel button while in the middle of applying an effect to a waveform. it may just sound slightly muffled because of the increased high end filtering. it’s very difficult to notice. this box should be enabled for best results. The default value is 120. • If the box is checked. you get almost 24-bit sample performance in only 16-bits. • Uncheck this box to have Adobe Audition automatically remove the effect on already processed data when Cancel is pushed. In general. Because the filter’s cutoff slope is much steeper at higher quality settings.224 CHAPTER 12 Options Menu – Edit View • A lower quality setting requires less processing time. the post-filter on upsampling will remove all frequencies above the Nyquist limit. a low quality setting will sound almost identical to a high quality setting. thus keeping them from generating false frequencies at the low end of the spectrum. When upsampling. the chance of ringing at high frequencies is greater.5. Multitrack Tab Use these settings to adjust system performance and default parameters for Adobe Audition’s Multitrack View. Instead. but will result in certain high frequencies being “rolled-off ”. leading to muffled-sounding audio. while a value of 0 will disable dithering. choose a value of 0. With dithering. The default value of 1 (bit) will enable dithering. • Post-Filter: To prevent any chance of aliasing. Dither amount for saving 32-bit data to 16-bit files This option enables/disables dithering when pasting 32-bit audio to 16-bit. . but since the phase shift is completely linear. Usually values between 100 and 400 do a great job for most conversion needs. generally won't introduce any undesired noisy artifacts. Adobe Audition will leave the effect applied to all data processed up until the point you pressed Cancel. For semi-dithering. at even the lowest quality setting.

• Playback Buffers: This field is used to adjust the number of buffers Adobe Audition uses for playback in the multitrack environment. try reducing the number of buffers. • Recording Buffer Size: Use this field to reserve memory for recording in a multitrack session by entering a buffer size (in seconds). The default setting is 10. Different sound card drivers can require different memory buffer size settings. Lower values indicate a higher level of priority above other system events. The default setting is 2 seconds.5 seconds. • Recording Buffers: This field is used to adjust the number of buffers used for recording in the multitrack environment. try reducing the number of buffers. A greater buffer size will require more of your computer’s memory. The default setting is 2.8) may be used. The default setting is 10. Different sound card drivers can require different memory buffer size settings. Increasing the number of buffers may also help for some configurations. If you do experience break-ups in your audio. If you experience dropouts while recording in multitrack (especially when playback seems fine). Adobe Audition’s default settings should work fine for most sound cards. Increasing the number of buffers may also help for some configurations. be sure the background mixing process is sufficiently complete when you go to record as this may cause the same symptom. If you hear “choppiness” (skips or dropouts) in multitrack playback. you can try to remedy it by adjusting the buffer size used. try increasing this setting. Adobe Audition’s default settings should work fine for most sound cards. (Choppiness in multitrack playback can also be attributed to the background mixing process not being far enough ahead).) A greater buffer size will require more of your computer’s memory. . The default setting is 1. If you experience break-up in your audio. (First. • Background Mixing Priority Level: Here is where you can adjust the priority level of the background mixing process done in a multitrack session.ADOBE AUDITION 225 User Guide The Multitrack Tab of the Settings Dialog Play/Record Set the following: • Playback Buffer Size: This is the buffer size (measured in seconds) to be used when sending data to your sound card when playing back a multitrack session. Fractional numbers (such as 0.

it may be advantageous to choose 16-bit for premixing. mixdowns can be generated at either 16-bit or 32-bit quality with this option. Rec. and right- panning is performed by reducing the left channel volume. Note: Owners of the Digital Audio Labs CardD should set this option to Play. Owner of Sound Blaster cards should set this option to Rec. unused takes remain available to the Session (in the Insert menu) and occupy hard drive space. Because the multitrack environment requires full-duplex capability. which will speed things up. and as 16-bit or 32-bit. 32-bit is better as it provides optimization at mixdown. or faster hard drives. left-panning is achieved by reducing the volume of the right channel. Owner of Sound Blaster cards should set this option to Rec. but most don’t. • Equal-power Sine: Choose this option to pan left and right channels with equal power. The channel being panned to doesn’t increase in volume as panning gets closer to 100%. it will start both playback (out) and record (in) on the card. . Play. Some cards require this order to specific. Play. The default is 16-bit. • Crossfade Time: This is the amount of time (measured in milliseconds) over which crossfading occurs when a take created using Punch-In is merged back into the surrounding waveform. this is the bit-resolution that will be used. Defaults Set the following: • Track Record: Check the desired radio buttons to specify how waveforms are created when recording directly into the Multitrack View: as mono or stereo. this setting determines the order that the sound card device drive will be started in the multitrack environment. • Pre-Mixing: This is the bit size used for the background mixing process. Panning Mode This section sets the method used for panning waveforms in a multitrack session. For single output device situations. as less data will be transferred across the hard drive(s).226 CHAPTER 12 Options Menu – Edit View • Open Order: This setting determines the order that the sound card device drive will be opened for use in the multi- track environment. Mixdowns When performing a mixdown. Best quality is achieved by leaving this at the default 32-bit setting. it will “open”. but most don’t. However. This results in an increase of 3dB RMS on the channel being panned to when at 100%. Press the Dithering Options… button to bring up a dialog that lets you specify how you want the 16-bit mixdown to be dithered. Because the multitrack environment requires full-duplex capability. Regardless of the session format (16-bit or 32-bit). both playback (out) and record (in) on the card. Merging Set the following: • Delete old takes after merging: Check this box to have Adobe Audition automatically delete any unused takes created during a Punch-In when you select a take to go with. so a hard pan left will contain the same loudness as both channels together. Play. • L/R Cut (log): If this option is chosen. or ready. Note: Owners of the Digital Audio Labs CardD should set this option to Rec. if you’re using multiple sound cards. If this setting is off. Some cards require this order to specific. • Start Order: After opening each device driver (see Open Order).

look at the difference in samples. audible clipping can occur in 16bit sessions. not with recording on top of existing waveforms. This saves on system resources. If the true sample rates on the cards differ enough that the recording would have drifted out of sync with the original if both were played back at exactly the same sample rate. Adobe Audition will look at the sync between the “master” audio playback device (generally. synchronized device starting. Correct for Start Sync in Recordings If this box is checked. (The reason for the milliseconds format and not samples is because at various sample rates this latency will be different in terms of samples. If different. or when using with a single sound card that doesn’t use the same clock for playback and recording (such as the Sound Blaster Live! card). the recorded block’s position is adjusted so the recording starts in perfect sync with the playback. synchronized device starting. This option only works with new record tracks. Smooth auto-scrolling during playback By default Adobe Audition uses a “paging” method of scrolling in Multitrack View instead of the smooth scrolling technique used in Edit View.) Note: On sound cards that support sample accurate devices (i.. Correct for Drift in Recordings If this box is checked. To compute milliseconds. the latency would be 27 * 1000 / 44100 or 0. This option allows for some measure of near sample-accurate synchronization across different sound cards.e. if the recording consistently appears 27 samples ahead of the playback. then you can adjust for this by entering this amount (in milliseconds) in the Latency field of Options > Device Properties for the recording device being used. and all devices keyed off of the same clock) you don’t need to check this box.e. multiply by 1000 and then divide by the sample rate. or punch-ins. Copy. not with recording on top of existing waveforms. . then the recording is corrected by resampling to make it the proper length. Adobe Audition looks at the exact true time that the record device started and compares that with the time the master playback device started. This option only works with new record tracks. the endpoints are at different amplitudes. Auto Zero-Cross Edits Check the Auto Zero-Cross Edits box to have Adobe Audition automatically adjust the beginning and end points of all Cut. work in the 32-bit realm if you’re using the Equal-power Sine panning method. but will be the same in terms of milliseconds.ADOBE AUDITION 227 User Guide Note: Because panning can actually make one channel louder than the original waveform. If you’d rather use smooth scrolling when playing back audio in Multitrack View. and you do a loopback test (by connecting the audio Out to the audio In and recording some “ticks”) and each recording is still a fixed amount out of sync. Note: If you have this option enabled. or punch-ins. and all devices keyed off of the same clock) you don’t need to check this box. check this box. the first Out device listed in the session – the one on Track 1) and the record device of the waveform being recorded.. and Paste-type edits to the nearest place where the waveform crosses the center line (zero amplitude point). This often results in an audible pop or click at that point. To avoid this. or when using with a single sound card that doesn’t use the same clock for playback and recording (such as the Sound Blaster Live! card).61 ms. Note: On sound cards that support sample accurate devices (i. For instance. This option allows for some measure of near sample-accurate synchronization across different sound cards. If the amplitudes aren’t lined up on both sides of the selection.

as there are occasions when the time code frame location numbers may be incorrect. Lag Time This setting. . Slack This sets the number of frames CEP can periodically be “out of sync” with the time code before either repositioning the playback cursor to match the code. so the playback chases the time code. Full re-sync when shuttling If selected. Generally a setting of about 2.228 CHAPTER 12 Options Menu – Edit View SMPTE Tab This is where you adjust Adobe Audition’s settings for working with time code. Lower settings (200ms) will result in faster response (when pressing Play). The default value is 200ms. Reposition playback cursor when shuttling If selected. The default value is 10 samples. This will not cause a sync problem in the audio sense. It can be used to make up for any discrepancies introduced by your sound card buffers. The SMPTE tab of the Settings dialog Lead Time This sets is the amount of time (measured in milliseconds) that Adobe Audition has to establish sync with the incoming time code. Stopping Time Stopping Time is the amount of time (measured in milliseconds) Adobe Audition will continue playing if a dropout in the time code is encountered. Clock Drift Correction Time This specifies how many samples to crossfade when making time corrections to audio played back. the playback position will readjust if the sync is off by the Slack amount.5 frames will do. measured in samples. a full re-sync will be performed if the sync is off by the Slack amount. usually corrected on the next frame sent. The default value is 1 frame. 500ms to 1000ms should provide plenty of Lead Time to establish lock-up. fine tunes the relationship between time code coming in and audio data coming out. The default value is 200 samples. but at the risk of true sync not being established. The default value is 1000ms. or perform a full re-sync.

The Wave Out Tab of the Device Properties Dialog Order The Order field displays the device preference order for the highlighted output device. if your sound card doesn’t handle 32-bit audio correctly. Depending on if your output device supports it. For instance. or a single card that has multiple outputs. and whether it can accept the WDM driver extensible wave format. Wave Out Tab This area is where you specify Adobe Audition’s parameters for playback of waveforms. Limit Playback to: Use this option to compensate for limitations imposed by your hardware. press the Change button to bring up Adobe Audition’s Device Ordering Preference dialog. 4-byte PCM. or 4-byte IEEE float. This table also shows what (if any) 32-bit formats the output device can handle. A Yes or No is shown for different combinations of sample rate and bit resolution. as well as input and output of MIDI signals. If you have multiple sound cards. Send 32-bit audio as: This option is enabled if you don’t have any of the boxes checked in Limit Playback to. they’ll show up as choices in the drop-down list at the top left corner of this window.ADOBE AUDITION 229 User Guide Device Properties The Device Properties dialog is where you tell Adobe Audition which devices to use for playback and recording of waveforms. Use this device in Edit View Check this box to have Adobe Audition use the highlighted output device for playing waveforms in Edit View. The capabilities of the selected output device are shown in the Supported Formats table. . you can send 32-bit audio as 3-byte Packed PCM. To change this order. you can have Adobe Audition limit the playback of 32-bit files to either 16bit or 8-bit and/or mono.

A Yes or No is shown for different combinations of sample rate and bit resolution. Shaped Triangular. Triangular. because it gives the best tradeoff between SNR. The Wave In Tab of the Device Properties Dialog .d. Note: Dithering only kicks in if you’re limiting high bit depth audio to a lower bit depth playback. however. other unwanted harmonic distortion noise will appear. Adobe Audition truncates instead. • p. If you have multiple sound cards. Wave In Tab This area is where you specify Adobe Audition’s parameters for recording waveforms. The same amount of noise overall is present. and Shaped Gaussian. If dithering isn’t enabled. The capabilities of the selected recording device are shown in the Supported Formats table. Gaussian. they’ll show up as choices in the drop-down list at the top left corner of this window. Usually one of the Triangular p. This means that bits that aren’t used are simply chopped off and discarded. You can also specify that no noise shaping is used.f.: The “probability distribution function” controls how the dithered noise is distributed away from the original audio sample value. but you can choose less noise to be placed at one frequency at the expense of placing more noise at another.f. from 8 to 32. or a single card that has multiple inputs. functions is a wise choice. This gives a “crackly” effect that fades in and out on very quiet audio passages.d. values of (what) to (what) give the best results without adding too much noise.f.d. that as this value is lowered. Five p. distortion. and noise modulation. Generally.230 CHAPTER 12 Options Menu – Edit View Enable Dithering: Check this box to activate dithering during waveform playback. • Shaping: Select one of the several noise shaping presets (known as “noise shaping curves”) to have Adobe Audition determine the placement when moving noise to different frequencies. types are available from the drop-down list: Rectangular. • bits: This drop-down list lets you choose the number of bits of Dither to be applied. Note.

To change this order. 4-byte PCM. Multitrack Latency Some sound cards introduce a latency of several milliseconds when they record. they’ll show up as choices in the two drop-down lists at the top left corner of this window.ADOBE AUDITION 231 User Guide Order The Order field displays the device preference order for the highlighted recording device. though. press the Change button to bring up Adobe Audition’s Device Ordering Preference dialog. . and then enter the number of milliseconds here (in our example. this area is where you specify Adobe Audition’s parameters for MIDI and SMPTE output. or a single device that has multiple outputs. (The default value is 0. Use this device in Edit View Check this box to have Adobe Audition use the highlighted output device for recording waveforms in Edit View. If you have multiple MIDI devices. and then record Track 2 while listening to Track 1 and find that the two tracks are out of sync by 7 milliseconds. or 4-byte IEEE float.) Adjust to zero-DC when recording Check this box to have Adobe Audition automatically remove any detected DC bias when recording. The MIDI Out Tab of the Device Properties Dialog Order The Order field displays the device preference order for the highlighted MIDI Output device. it would be 7) to force sync. To change this order. This is a constant number. press the Change button to bring up Adobe Audition’s Device Ordering Preference dialog. For example. you can send 32-bit audio as 3-byte Packed PCM. so through trial and error you can figure out how out of sync a particular device gets. MIDI Out Tab If your system is equipped with one or more MIDI devices. Get 32-bit Audio using: Depending on if your recording device supports it. it’s probably because of this latency problem. if you record on Track 1.

Move between the tabs to adjust the parameters for each type of device. . Device Order The Device Ordering Preference window allows you to set the order in which Adobe Audition uses your system’s playback. they’ll show up as choices in the drop-down list at the top left corner of this window. this area is where you specify Adobe Audition’s parameters for MIDI input. Ext. press the Change button to bring up Adobe Audition’s Device Ordering Preference dialog. or a single device that has multiple inputs. recording. you can select them here and adjust their Volume Increment value (specified in db). The order of preference chosen determines which tracks get assigned to which devices when loading multitrack sessions on systems with different sound card configurations. and MIDI input devices. Controller Tab If you have any external devices that Adobe Audition supports. The Wave In Tab of the Device Properties Dialog Order The Order field displays the device preference order for the highlighted MIDI Input device. MIDI output. To change this order.232 CHAPTER 12 Options Menu – Edit View MIDI In Tab If your system is equipped with one or more MIDI devices. If you have multiple MIDI devices.

[EV] appears next to the device’s name. Use>> Press this button to move a selected item from the Unused Playback Devices list to the Device Preference Order list. Move Up Pushing this button moves the selected item up in the Device Preference Order list. . Move Down Pressing this button moves the highlighted item down in the Device Preference Order list. <<Remove Click on this button to remove a highlighted item from the Device Preference Order list. It will then appear in the Unused Playback Devices list. Just one playback device can be used in Edit View. Properties A press of this button brings up the highlighted item’s properties in Adobe Audition’s Device Properties dialog. Use in EV Use this button to designate that the selected item in the Device Preference Order List should be used for playback in Adobe Audition’s Edit View.ADOBE AUDITION 233 User Guide Playback Devices Tab The Playback Devices tab of the Device Ordering Preference Dialog Unused Playback Devices The items in this list are the playback devices on your system not currently utilized by Adobe Audition.

Move Down Pressing this button moves the highlighted item down in the Device Preference Order list. It will then appear in the Unused Record Devices list. Properties A press of this button brings up the highlighted item’s properties in Adobe Audition’s Device Properties dialog. . Just one record device can be used in Edit View. Move Up Pushing this button moves the selected item up in the Device Preference Order list. Use>> Press this button to move a selected item from the Unused Record Devices list to the Device Preference Order list. Use in EV Use this button to designate that the selected item in the Device Preference Order List should be used for recording in Adobe Audition’s Edit View.234 CHAPTER 12 Options Menu – Edit View Recording Devices Tab The Recording Devices tab of the Device Ordering Preference Dialog Unused Record Devices The items in this list are the record devices on your system not currently utilized by Adobe Audition. [EV] appears next to the device’s name. <<Remove Click on this button to remove a highlighted item from the Device Preference Order list.

Move Down Pressing this button moves the highlighted item down in the Device Preference Order list. Just one MIDI Out device can be used in Edit View. Move Up Pushing this button moves the selected item up in the Device Preference Order list. Properties A press of this button brings up the highlighted item’s properties in Adobe Audition’s Device Properties dialog.ADOBE AUDITION 235 User Guide MIDI Output Devices Tab The MIDI Output Devices tab of the Device Ordering Preference Dialog Unused MIDI Out Devices The items in this list are the MIDI Out devices on your system not currently utilized by Adobe Audition. Use>> Press this button to move a selected item from the Unused MIDI Out Devices list to the Device Preference Order list. It will then appear in the Unused MIDI Out Devices list. [EV] appears next to the device’s name. . <<Remove Click on this button to remove a highlighted item from the Device Preference Order list. Use in EV Use this button to designate that the selected item in the Device Preference Order List should be used for MIDI playback in Adobe Audition’s Edit View.

236 CHAPTER 12
Options Menu – Edit View

MIDI Input Devices Tab

The MIDI Input Devices tab of the Device Ordering Preference Dialog Unused Playback Devices The items in this list are the MIDI In devices on your system not currently utilized by Adobe

Audition.
Use>> Press this button to move a selected item from the Unused MIDI In Devices list to the Device Preference Order

list.
<<Remove Click on this button to remove a highlighted item from the Device Preference Order list. It will then appear

in the Unused MIDI In Devices list.
Move Up Pushing this button moves the selected item up in the Device Preference Order list. Move Down Pressing this button moves the highlighted item down in the Device Preference Order list. Use in EV Use this button to designate that the selected item in the Device Preference Order List should be used for MIDI

input in Adobe Audition’s Edit View. [EV] appears next to the device’s name. Just one MIDI In Device can be used in Edit View.
Properties A press of this button brings up the highlighted item’s properties in Adobe Audition’s Device Properties

dialog.

Shortcuts (Keyboard & MIDI Triggers)
Shortcuts are used to speed up the editing process by allowing you to execute almost any command in Adobe Audition from your computer and/or MIDI keyboard. For instance, instead of using your mouse to go to the Edit menu and selecting Cut to cut the highlighted portion of a waveform, you can simply press Ctrl+X.

ADOBE AUDITION 237 User Guide

Likewise, you can execute commands from a MIDI keyboard, a sequencer, or any other device capable of issuing a MIDI command. This type of shortcut is referred to as a MIDI Trigger. An example of this would be assigning the Play command in Adobe Audition to the C4 note on your MIDI keyboard. Note: The Shortcuts (Keyboard & MIDI Triggers)… dialog is fully documented in the “Keyboard Shortcuts” chapter.

238 CHAPTER 12
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239

Chapter 13: Navigating the Multitrack View

M

ultitrack View is one of Adobe Audition’s two major workspaces. (Edit View is the other.) Use Multitrack View to record, assemble, mix, and play your audio creations using up to 128 tracks. Add real-time effects such as equalization, reverb, and dynamics processing. Precisely adjust the desired volume, pan, and effects levels for

each track.

In this chapter we’ll introduce you to Adobe Audition’s concepts of images, blocks, and sessions. We’ll tell you about the basic mouse movements that are crucial to navigation. Plus, we’ll document the interface elements that are specific to the Multitrack View: the Track Controls, the Session Display, the Track Context menu, and the Block Context menu. Note: Interface components that are common to both Edit View and Multitrack View (such as the Level Meters and the Transport Controls) are documented in the “Looking at the Work Area” chapter, while all of the items referenced on the Multitrack View’s drop-down menus are explained in the Edit View menu chapters. The following is a typical layout for Adobe Audition’s Multitrack View Screen:

240 CHAPTER 13
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Multitrack View

About Images
When you’re working in Adobe Audition’s Multitrack View and you move a waveform, MIDI file, or video soundtrack from one track and place to another, or create a series of duplicates for looping, you aren’t actually moving the original audio file data in any way. In fact, you’re manipulating a virtual “image” of that waveform or waveform range in a nondestructive fashion that doesn’t affect the original audio file in any way. Essentially, an image is a set of playback instructions that are tagged to the original audio file(s). For example, creating a series of 16 loops within the Multitrack View window doesn’t actually waste disk space by making sixteen copies of the original waveform. Instead, the session file will instruct the program to playback the same portion of the original audio file (the image) 16 times in a repeating fashion. This concept lies at the heart of modern-day hard disk editing.

ADOBE AUDITION 241 User Guide

About Blocks
Blocks are actually images of waveforms, MIDI files, or video soundtracks that are graphically displayed within the Multitrack View that allow you to mix, move, copy, loop, alter volume and pan levels, and add effects in a non-destructive fashion. (Non-destructive in this case means that you can alter image parameters without affecting the original audio data in any way.)

Two waveform blocks on the same track

You can right-click on a block to call up a menu that contains shortcut commands relating to multitrack editing.

About Session Files
Adobe Audition uses session (.ses) files to save all of the information that relates to a current multitrack project (a.k.a. session), such as audio file placement and info about mixing and panning levels, mute and solo status, and application of real-time effects.

Navigating the Session Display
The following list describes the mouse movements that are crucial to navigating around the Multitrack View’s Session Display window.
Defining a Range Left-click on one side of the range portion that you want to select and drag the mouse to the left or

right. You also select any block that is within the dotted-line rectangle you draw with the mouse.
Editing a Wave Block Double-click on a wave block to send it to Adobe Audition’s Edit View for modification. Moving a Block Right-click a block and drag it horizontally to adjust its position within a track. To move the block between tracks, right-click it and drag it vertically. Displaying Context Menus Two types of context menus can be shown in the Session Display: • Right-click on a block to view the Block Context menu. • To see the Track Context menu, right-click on a track anywhere there isn’t a block.

242 CHAPTER 13
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Inserting Existing Audio Into Your Session
Unless you’re recording a multitrack session from scratch, the first thing that you’ll probably want to do when starting a session is to begin loading existing audio files into the Multitrack View’s session window. Adobe Audition provides several ways to do this (including dragging files from the Organizer window), but for many people, the most straightahead method is through the Insert menu.

The Insert Menu

The Insert menu provides commands for inserting Wave, MIDI, Video, and Video Soundtracks from any drive attached to your system, as well as the ability to insert files and cues that are already open in Adobe Audition’s Edit View. You may also right-click on a track and select from a similar Insert item.

Recording New Audio Into Your Session
Before you record into an Adobe Audition Multitrack session, you’ll need to enable the track(s) to which you want to record. To enable a track for recording, push the track’s “R” button in the Track Controls. Or, you may right-click in the track anywhere there isn’t a block and select the Record item from the pop-up menu.

If you have more than one device in your system that’s capable of recording (such as another sound card), you can then select the device from which you’ll be recording. Press the track’s Recording Device button, which by default will say “Rec 1”. (The Record Devices dialog may also be displayed by right-clicking in the track anywhere there isn’t a block and selecting the Recording Device item from the pop-up menu.) Not only does the Record Devices dialog allow you to select what device will feed the input for the track, it lets you decide if you want the track to record in stereo, left channel only, or right channel only, plus specify if the track should be recorded in 16-bit or 32-bit modes. Note: You’ll also want to make sure that the levels in your sound card’s mixer are set correctly. This includes enabling the correct input channel and making sure that the input volume isn’t too soft (which can add excessive noise) or too loud (which creates distorted recordings).

or Bus buttons at the top of the Track Controls window switches between these three areas. press the Stop button in Adobe Audition’s Transport Controls or hit the Spacebar to terminate the recording process. The Track Controls window appears to the left of the session window. the Vertical Portion Bar runs along the left boundary of the Track Controls window. Vertical Portion Bar By default. Track Controls set to the Vol Tab Along with the Vertical Portion Bar and the Mix Gauge. Luckily. When recording is complete. It’s used to scroll through all of Adobe Audition’s 128 available tracks. and bus properties. . The number of tracks that will be visible at one time will remain the same. and can be resized to be as wide or as narrow as you wish. you’ve learned them all. the controls for each track are identical – so if you learn one. as well as to control the number of tracks Adobe Audition shows you at any one time. Drag up to see higher track numbers. EQ. drag down to see lower track numbers. Track Controls Adobe Audition puts 128 tracks of recording and mixing pleasure at your disposal. but the track ranges being viewed will be shifted either up or down. Right-click on a Track Controls module to display Adobe Audition’s Track Properties dialog. press the Record button in Adobe Audition’s Transport Controls or use the Ctrl+Spacebar keyboard shortcut to begin recording from the cursor.ADOBE AUDITION 243 User Guide After you’ve enabled the desired track(s) and optionally specified its/their recording properties. • Left-click and drag the little hand over the Vertical Portion Bar’s handle to scroll through Adobe Audition’s visible track ranges from tracks 1 through 128. Pushing the Vol. equalization. Adobe Audition’s Track Control window consists of three main areas for adjusting volume.

An “L” in the field designates a left pan. The dB number changes as you slide. Zoom Out. EQ. and Zoom to Selected Tracks. Note: The Record Enable button is available in the Vol.e. The text on the button changes to reflect the output device or bus chosen. If you make the handle smaller overall. By default the track will be named something like “Track 4”. meaning that the output of all other tracks will be muted so that you can hear the track by itself. Track Volume Field This field – which has a “V” followed by a number – displays the volume of the track in dB. Solo Button This is the button with the “S” on it. but it can be easily renamed by left-clicking on the name of the track and then typing over it. Either edge of the handle can be stretched. You can pan the track to the left or right by up to 100%. Note: The Output Button is found in both the Vol and Bus areas. it’s set to 0dB. this track will begin recording. Multiple tracks may be soloed by pushing down their “S” buttons while holding down the Ctrl key. you’re zooming out. Multiple tracks may be muted by pushing their “M” buttons. Note: The Solo button is available in the Vol. and Bus areas. so the longer the handle is. and if you make the handle larger. Note: The Mute button is available in the Vol. as well as returning it to its default position to the left edge of the Track Controls window. Mute Button Clicking on the button with the “M” on it mutes the track. . Track Name Field At the top of each Track Control module. Just left-click the field and slide your mouse vertically or horizontally. Note: The Track Volume Field only appears in the Vol area. the handle) always shows you what portion (hence the name) of the total file you can see. and the number after the letter designates the percentage of the pan. and Bus areas. Output Button Pressing the Output Button (which is labeled “Out 1” by default) brings up Adobe Audition’s Playback Devices dialog. EQ. The menu also has options for moving the Vertical Portion Bar to the left or right of the Session Display. which means that the track will no longer be heard in the mix. which allows you to specify the track’s output device or bus. the more tracks are on screen at once. Track Pan Field This field – which by default has “Pan 0” in it – displays the pan position of the track in dB. The colored portion of the bar (i. Pressing it puts the track into Solo mode. When the Record button in the Transport Controls is pushed. and Bus areas. EQ.. the track’s name is displayed in a “sunken” field.244 CHAPTER 13 Navigating the Multitrack View • Left-click and drag the magnifying glass (which appears when your mouse passes over either edge of the Vertical Portion Bar’s handle) to adjust the number of viewable on-screen tracks. By default. an “R” represents a pan to the right. • Right-click anywhere on the Vertical Portion bar to call up a menu with three zooming options: Zoom In. Record Enable Button Pressing the Record Enable button (it’s the button with the “R” on it) will arm the track for recording. you’re zooming in. but you can adjust the track volume from -120 dB to 32 dB by left-clicking the field and sliding your mouse vertically or horizontally. Note: The Track Pan Field only appears in the Vol area.

and Hi Track EQ fields show the current low frequency. Note: When a track is locked. Note: The Input Button is found in both the Vol and Bus areas. Or. such as moving a block or changing effects parameters. they take no CPU time. what actually happens is that the effect is mixed into the background mix. Press the Lock Button to the left to lock in the effect(s). Note: The Lock Button is found in both the Vol and Bus areas. and high frequency equalization amplitude for the track. the button is renamed to whatever you’ve typed as a “friendly name” for the effects rack. Pressing it tells Adobe Audition to lock in the effect(s) and disables the FX button. Keep in mind that when a track is locked. the Lock button is enabled. Note: The FX Button is found in the Vol. Release the button to unlock the effect(s) and reenable the FX button. and Bus areas. By default. Mid. you can’t do anything to the audio in it. When track effects are bypassed. off-line. you can easily change a field’s value from -32 to 32 by left-clicking on it and sliding your mouse horizontally or vertically. a number is added on to the button’s label. and multitrack effects to the track After effects have been applied to the track. The text on the button changes to reflect the input device chosen. Lock Button When real-time effects are applied to the track using the FX button. The Effects Rack is used to apply any combination of real-time. For instance.ADOBE AUDITION 245 User Guide Input Button Pressing the Input Button (which is labeled “Rec 1” by default) brings up Adobe Audition’s Record Devices dialog. they’re all set at 0. thus removing the real-time effect from the CPU load. Right click on the FX button for quick access to the track's effects rack. FX Button Click on the FX button to bring up the track’s Effects Rack. settings. and mixer. or to bypass the effects on that track. EQ. However. “FX” will become “FX 2” when effects have been applied to Track 2. Track Equalization Fields The Low. . right-click on an EQ field to bring up Adobe Audition’s Track Equalizers dialog. Note: While it takes time to process a track when you lock it. Try locking down tracks that you are not working with at the time to save some CPU power for your other work. unlocking it is instant. If you haven’t given a friendly name to the effects rack. mid frequency. which allows you to specify the device from which you are recording. which gives you more precise control over the track’s EQ. which disables the FX button.

By default. Change the field’s percentages by left-clicking on it and sliding your mouse horizontally or vertically. thus bank-switching the EQ settings and allowing you to A/B two sets of equalization parameters. . the setting for the EQ / B button is “flat”. EQ / A and EQ / B Buttons These buttons allow you to quickly switch between two different banks of equalization param- eters.246 CHAPTER 13 Navigating the Multitrack View Track Controls set to the EQ Tab Note: The Track Equalization Fields normally show up only in the EQ area. A single-click on the EQ / A button changes it to an EQ / B button. which is fully documented later in this chapter. if you make EQ modifications while the EQ / B button is active. so you can A/B against “no equalization” at any time by just clicking that button. Right-click on either button to bring up the EQ Presets dialog. the Wet/Dry Fields are enabled and display the bus’ wet and dry percentages. those settings are preserved. Wet/Dry Fields If a track’s output is set to a Bus. To force both banks to be equal to the current settings. but will appear under the Vol tab if your Track Controls area is sized large enough. double-click on the EQ / A or EQ / B button. This allows you to A/B any two settings you want. However.

and it does so through background mixing. add. Adobe Audition has to immediately work that change into the mixed output. it measures how much processing needs to be carried out by Adobe Audition “behind the scenes”. which means that the entire session has been fully mixed. The further that the Mix Gauge’s green bar progresses to the right. Mix Gauge The Mix Gauge (which is located underneath the Track Controls of the bottommost viewable track) indicates how much background processing Adobe Audition has completed. the bar lights up to a bright shade of green. the more processing has been done to complete the current mixing tasks. or new material recorded into a track. The Mix Gauge Some notes about the background mixing process: Mixing involves combining all of the placed waveforms into two (or more) channels for output. Adobe Audition must constantly watch for changes to the multitrack session. and is generally very fast. such as a moved or deleted waveform. The faster your system – especially your CPU and hard drive(s) – the faster Adobe Audition can mix in the background. It can be thought of as a fuel tank gauge.ADOBE AUDITION 247 User Guide Track Controls set to the Bus Tab Note: The Wet/Dry Fields only appear in the Bus area. When something is altered. Once the processing has been completed. Background mixing occurs behind the scenes much of the time that you’re in the multitrack environment. a volume change. except that instead of fuel. and subtract waveforms in the multitrack environment. . Because you can edit. The mix progress meter constantly shows how far along Adobe Audition in the process of mixing your session.

the Horizontal Ruler. If that happens.248 CHAPTER 13 Navigating the Multitrack View However. As stated above. Of course. Adobe Audition continuously mixes. It can also be used to zoom in and out horizontally in the Session Display. and adjusting the Background Mixing Priority Level. the Horizontal Portion Bar. . is at the top of the Session Display – to scroll forwards and backwards in time throughout a session. and the Track Display window. Adobe Audition gives you some control over the background mixing process. In general. Moving the magnifying glass to the left zooms in. You can temporarily disable background mixing by selecting Pause Background Mixing from the Options menu. you can increase its priority by going to Options > Settings. by default. you’ll hear a break-up or skipping when playing back the mix. Session Display Horizontal Portion Bar Use the Horizontal Portion Bar – which. Adobe Audition will usually “catch up” very quickly. just wait a few seconds. clicking on the Multitrack tab. and will continue to do so while playing. It contains all track windows. you need not wait for the meter to reach completion entirely before beginning playback. If you’re finding that background mixing isn’t fast enough. if the background mix isn’t sufficiently completed. • Left-click and drag the magnifying glass (which appears when your mouse passes over the edge of the Horizontal Portion Bar’s “handle”) to change the viewable range of the Session Display. • Left-click and drag the little hand over the Horizontal Portion Bar’s “handle” to scroll time-wise through the session. so you can safely begin playback when the mix progress meter is about halfway full. while moving it to the right zooms out. and you can commence playback again. Session Display The Session Display is the part of Adobe Audition’s Multitrack View that lies to the right of the Track Controls.

which are shown on the Zooming menu. but the range of tracks that are displayed at any one time can easily be changed by using the following mouse commands: • Left-click and drag the little hand vertically over the Track Display Ruler to scroll through Adobe Audition’s visible track ranges from tracks 1 through 128. • Right-click and drag over the Track Display Ruler to automatically zoom the waveform window to show only the specified tracks. Zoom Out. and Zoom Full. • Right-click on the Horizontal Ruler and drag to select an area to zoom in on. • Right-click on the Track Display Ruler to call up a menu with three zooming options: Zoom In. and Zoom to Selected Tracks. Track Context Menu Right-clicking on a track in the Multitrack View session window will invoke the Track Context menu. It measures time in the same format specified in View > Display Time Format menu (which is hours. • Snapping allows the edges of any block to “snap” to certain time locations when being dragged. Track Display Ruler The vertical Track Display Ruler – which appears at the right edge of the session window – displays the numbers of all visible tracks. Regularly using these shortcuts will result in faster editing sessions. The zoom in occurs when the right mouse button is released. Horizontal Ruler The Horizontal Ruler runs along the bottom of the Session Display and acts as a timeline. Zoom Out. Several of the zoom commands already have keyboard shortcuts assigned to them. but the track ranges being viewed will be shifted either up or down. . Check the snapping behavior(s) desired. and Zoom In to Right Edge of Selection. • The Display Time Format submenu allows you to choose the time format the Horizontal Ruler uses. The number of tracks that will be visible at one time will remain the same. • Left-click on the Horizontal Ruler and drag the little hand over the ruler to scroll time-wise through the session. Zoom In to Left Edge of Selection. and seconds by default). • Six Zoom commands are provided: Zoom In. minutes.ADOBE AUDITION 249 User Guide • Right-click anywhere on the Horizontal Portion Bar to call up a menu with three zooming options: Zoom In. drag down to see lower track numbers. By default Adobe Audition shows you only four tracks. Drag up to see higher track numbers. Zoom to Selection. • Right-click anywhere on the Horizontal Ruler to call up a menu with several options. The menu also has options for moving the Horizontal Portion Bar to the bottom of the Session Display. Zoom Out. Zoom Full. as well as returning it to its default position at the top of the Session Display.

If you want to actually see the video’s visual data. a plus sign will appear next to its name to let you expand that file out and see all the cue ranges in it. Just one video file may be open in Adobe Audition at a time. No matter which insertion method you choose. while the audio from the video is placed in the track below. If you try to insert another one. If you want to insert an item anywhere in the session window. To place an item from the list at the session window’s insertion point. just drag it off the list and drop it on the desired track. the “Insert into Multitrack” window automatically closes. This window lists all of the files that are currently open in Edit View. make sure Adobe Audition’s Video Window is open (View > Show Video Window). A filmstrip graphic that represents the video appears on one track. • Open Waveform List: Up to 10 open waveforms will be listed here for your convenience. . • File/Cue List: This command activates Adobe Audition’s “Insert into Multitrack” window. • MIDI from File: Use this command to place a MIDI file (*. This allows you to insert either the whole file. or expand it and grab one of the cue ranges directly. each on its own track. filenames of just the last 10 opened are shown.mid or *. You can open several waveforms at once by selecting them with the Shift (for contiguous selection) or Ctrl (for non-contiguous selection) keys pressed. video files. but feel free to re-run this command as often as need to insert addition video soundtracks into your session. Only one MIDI file may be inserted at a time. Multiple waveforms are placed at the insertion point. You’re limited to inserting audio from just one video file at a time. • Wave from File: This command activates Adobe Audition’s “Open a Waveform” dialog.250 CHAPTER 13 Navigating the Multitrack View Track Context Menu Insert Use the Insert Menu to import waveforms. but you’re welcome to re-run this command as many times as desired to insert multiple MIDI files in a session. If you have more than 10 waveforms active. It allows you to choose one or more supported waveforms to be placed at the insertion point in the session window. • Audio from Video File: Insert the soundtrack from one or more supported video files to the session window using this command. you’ll be prompted to close the currently open video file. just click on it. If a file has cues in it. and audio from video files into Adobe Audition’s Multitrack View.rmi) at the session window’s insertion point. • Video from File: This command allows you to insert one video file into Adobe Audition’s session window. MIDI files. Both active files (those already in Edit View) and inactive files (not already opened) may be easily inserted.

effects and envelopes are all reflected in the mixed waveform. (You’ll need to hold down the Ctrl key while pressing the “S” button to solo multiple tracks.) Solo Current Track Run this command to put just the current track into solo mode. • Selected Waves (Mono): Choose this option to mix all highlighted waveforms in the session to a mono waveform. • All Waves (Mono): Selecting this option will mix all unmuted waveforms in the session to a mono waveform. Unlike the Solo Current Track command. you can run Solo on multiple tracks to place the track into solo mode. You’ll see its name in the Files tab of the Preferences menu as well as in the Insert > Existing File/Cue… pop-up window. the track is soloed. When recording into a track.) Session elements such as looping. This command does the same thing as pressing the “M” button on the track console. This command does the same thing as clicking the “S” button on the track console. images. the input will be fed from the currently selected recording device. You’ll find the Mix Down to Track (Bounce) command handy for creating small submixes in the Multitrack View. A soloed track has the effect of muting out all other tracks. (This process is commonly known as “bouncing”. and are displayed as “grayed-out”. its solo status will be turned off. . This means that the track will be ready to record onto when the Record button in the Transport Controls is pushed. and places the result – a mono or stereo file that exactly replicates the sound of your complete session – in the selected track. and is used to quickly isolate a track or tracks from the rest of the mix. • Selected Waves: Choose this option to mix all highlighted waveforms in the session and put the resulting stereo waveform in the active track. which will be placed in the current track. Arm Track for Record Checking this command gets a track ready for recording. • All Waves: Selecting this option will mix all unmuted waveforms in the session and place the resulting stereo waveform in the current track.ADOBE AUDITION 251 User Guide Mix Down to Track (Bounce) This functions performs a mixdown as the Edit > Mix Down command does. If any other track in the session window is soloed. This command does the same thing as pressing the “R” button on the track console. Solo Track When this command is checkmarked. All blocks within the track are ignored during playback and mixdowns. which is put in the active track Note: Adobe Audition treats your mixed track like any other open waveform. It can also be sent to Adobe Audition’s Edit View for modification. Track Volume This command displays a small floating window which includes a slider for adjusting the track’s overall volume. Mute Track Checkmark this command to mute the track.

If you haven’t applied any real-time effects to the track yet.252 CHAPTER 13 Navigating the Multitrack View Track Volume Window Dragging the slider’s scroll control upward raises the track’s volume. while moving the scroll control downward reduces the volume. the Effects Rack dialog is displayed. while each block within the track has an individual pan setting. Rack Settings Click on this command to display the Effects Rack for the current track. Note: Each track has a global pan setting. Track Pan Use this command to display a small floating window which includes a slider for adjusting the track’s overall pan. while each block within the track has an individual volume setting. while moving the scroll control to the left pans the track to left. . Effects Settings This command does the same thing as pressing the FX button in the Track Console. Track Pan Dialog Dragging the slider’s scroll control to the right pans the track to the right. Note: Each track has a global volume setting. If real-time effects have been previously added. You may also adjust the track’s volume by entering a decibel value in the box above the slider. you’ll see a tabbed window with panes for effect settings and mixing. You may also adjust the track’s pan by entering a value from –100 (hard left) to 100 (hard right) in the box to the right of the slider.

which lists all available waveform recording devices in your system. bus. • MIDI Tab: A list of all your system’s MIDI output devices is shown here. • Properties: The button brings up the property dialog for the selected Wave device. The MIDI Tab of the Playback Devices Dialog • Same for All Tracks: Check this box to use the selected Wave device. bus. Recording Devices Select this command to display Adobe Audition’s Recording Devices window. Choose the device you wish to use for this track. A properties dialog for the new bus appears. .ADOBE AUDITION 253 User Guide Playback Device This command brings up Adobe Audition’s Playback Devices window. which lets you assign the output properties for the selected track. • Busses: A list of all Adobe Audition busses you’ve created is shown here. By default. or MIDI device. or MIDI device for all tracks in your session. • New Bus: Click on this button to add a new bus to the Busses list. busses are automatically named with a letter of the alphabet. but you can give a bus a “friendly name” by filling out the appropriate field in the Bus Properties dialog. • Wave Tab: The Wave Tab of the Playback Devices Dialog • Devices: All of your system’s devices that are capable of playing waveforms are listed here.

or in stereo from the recording device. which means you can reposition it at one of several places in the Adobe Audition interface. . Or. Click on a tab (which contains the name of the track) to adjust its associated track’s settings. • Same for All Tracks: Check this box if you wish these settings to be the default for all 128 of Adobe Audition’s tracks. Track Equalizer Activate this item to display Adobe Audition’s Track Equalizers window. the right channel. Here are the major components of the Track EQ window: • Track Tabs: The first time you click on any track in Adobe Audition’s session window. you may detach it and have it float above Adobe Audition’s main window. • Bit-depth Selection: Decide here if you want to record the track in the 16-bit or 32-bit realm. which gives you more control over a track’s equalization than the EQ tab in the Track Controls. • Properties: Pressing this button brings up Adobe Audition’s Device Ordering Preference screen.254 CHAPTER 13 Navigating the Multitrack View Record Devices Dialog • Channel Selection: You can specify if the track will record the left channel. The “X” control to the immediate right of the Max View control closes the active tab. The expanded Track Equalizers window with Track Tabs displayed The Track EQ window is dockable. a tab is added for that track to the Track EQ window. Note: You won’t be able to see the Track Tabs if the Max View window display option is selected.

Mid. Then. you’ll notice that the two sets of sliders move accordingly when the graph’s control points are manipulated. To add the current EQ settings as a preset. and Hi Frequency Sliders to adjust the EQ curve’s low. You may also specify the slider’s amplitude by directly entering the desired dB value in the text box at the bottom of the amplitude slider. while moving it to the left (or clicking on the arrow to the left of the slider) reduces the frequency.ADOBE AUDITION 255 User Guide • EQ Presets: Press the “P” in the upper right-hand row of icons to access the EQ Presets dialog. Enter the name for the new preset. • Q Values: The low. Move a slider upwards (or click on the arrow at the top of the slider) to raise the frequency’s amplitude. while dragging to the left reduces it. to delete you must first press Delete. • Amplitude Sliders: The horizontal Lo. Mid. and high frequencies respectively. middle. • Frequency Sliders: Use the vertical Lo. middle. but by pushing one or both Band buttons. (Q is the sharpness of the equalization circuit’s peak response. Keep in mind that since clicking on any item chooses it. press the Restore control – the small arrow pointing downward. you can activate the Low Q and/or Hi Q settings. as well as delete EQ presets you no longer want. . Drag a slider to the right (or click on the arrow on the right of the slider) to increase the slider’s frequency. If the Track EQ window is in expanded view. which allows you to save favorite equalization settings. You may also specify the slider’s frequency by directly entering the desired Hz value in the text box to the right of the frequency slider. • Band Buttons: By default. You can drag the three control points (which look like balls) around the graph to adjust the EQ curve. while the middle and right-most control points correspond to the EQ curves’ middle and high frequencies respectively. The graph’s x-axis (horizontal) ruler measures frequency.) If a Q box isn’t “grayed out”. To return to the Track Tabs view. To delete a preset. The left-most control point initially represents the EQ curve’s low frequency. which initiates the delete mode (notice that the button lights up when delete mode is active). you can click on whichever entry you wish to zap. All of the tabs disappear and the controls for the selected track expand to fill the Track Equalizers window. Dragging to the right increases the Q number. you can adjust the Q number by left-clicking on the box and dragging. • Max View: When you press this control – which looks like a small arrow pointing upward – you switch to Max View. • Graph: The graph shows the track’s current equalization curve. and then click Add New to display the New Preset Name dialog. Choose an EQ preset by clicking the “P” and clicking on the preset’s name. middle and high frequency Q values of the equalization curve are displayed in these boxes. while the y-axis (vertical) ruler represents amplitude. Note: EQ Presets are also accessible from the EQ section of the Track Controls area by right-clicking on the EQ / A or EQ / B button. • Expand/Collapse: Use the Expand and Collapse arrows (which point to either the right or the left) to show or hide the equalization frequency and amplitude faders and their associated text entry boxes. press the “P” icon and then click the Delete button. as well as the Band buttons. This in effect gives you the control of a parametric equalizer. while bringing it down (or clicking on the arrow to the bottom of the slider) decreases the amplification of the frequency. and press OK. and Hi Amplitude Sliders to are used to increase or attenuate the EQ curve’s low. only the Mid Q in the Track EQ window is active. click on the “P”. The EQ Presets dialog is a “go away” dialog that disappears if you click outside it. and high frequencies respectively.

The Track Properties window is dockable. • Panning Slider: This horizontal slider adjusts the track’s pan. which means you can reposition it at one of several places in the Adobe Audition interface. • Title: The default title of the selected track (such as “Track 3”) appears in this editable field. The “X” control to the immediate right of the Max View control closes the active tab. • Volume Slider: This vertical slider adjusts the track’s volume. Moving the slider to the left (or clicking on the arrow at the left of the slider) reduces the volume of the right channel. Negative numbers (such as -100) denote a left pan. while dragging it to the right (or clicking on the arrow to the right of the slider) decreases the left channel’s volume. Or.256 CHAPTER 13 Navigating the Multitrack View Track Properties Checkmarking this item displays Adobe Audition’s Track Properties dialog. where you can adjust parameters for a selected track’s volume and panning. Click on a tab (which contains the name of the track) to adjust its associated track’s settings. . Note: You won’t be able to see the Track Tabs if the Max View window display option is selected. measured in percentage. All of the tabs disappear and the controls for the selected track expand to fill the Track Properties window. Note that the name of the Track Tab changes accordingly. To return to the Track Tabs view. The Track Properties Dialog in default Tabs view Here are the major components of the Track Properties window: • Track Tabs: The first time you click on any track in Adobe Audition’s session window. You may also specify the track’s volume by directly entering the desired dB value in the text box above the Volume Slider. Dragging the slider up (or clicking on the arrow at the top of the slider) increases the track’s volume. a tab is added for that track to the Track Properties window. measured in dB. you may detach it and have it float above Adobe Audition’s main window. • Max View: When you press this control – which looks like a small arrow pointing upward – you switch to Max View. while moving it downward (or clicking on the arrow underneath the slider) reduces the volume accordingly. press the Restore control – the small arrow pointing downward. while positive numbers (like 100) mean a right pan. You can also set the track’s panning parameter by directly entering the desired percentage in the text box to the right of the Panning Slider. and more. output and record devices. You may rename the track by highlighting the text in this field and typing over it.

• Mute: The Mute button silences the output of this track. • EQ: The Low (“L”). Press the master record button in the transport controls to start recording. and High (“H”) equalization values of the track are displayed in these three fields. • Effects: Press the FX button to bring up the Effects Rack for that track. or to cut the selected area out of the session (Delete). while dragging to the left reduces it.ADOBE AUDITION 257 User Guide • Output: The item shows where the track will be output to. • Record: This button arms the track for recording. with all wave blocks to the right of the selected region shifted to the left. • Bus: If you’ve added this track to a bus. To do this. If Delete is chosen. An Adobe Audition session can contain a mix of 16-bit and 32-bit tracks. Insert/Delete Time Use Insert/Delete Time to introduce an amount of silence into the session (Insert) at the cursor location. • Channel: Use this dropdown list to decide if you want this track to be Left Only. All other tracks are muted. You can left-click and drag on these boxes to adjust these percentages. you can select it from the dropdown list. such as a sound card or bus. you can select it from the dropdown list. and the silence inserted. If your system has more than one recording device. the Wet and Dry percentages are shown here. Note: Despite its singular name. Insert/Delete Time Dialog . • Record: The device (such as a sound card) that this track will record through to is shown here. this button locks the track. Right Only. more than one track may be soloed. More than one track in an Adobe Audition session can be muted at one time. • Solo: This button solos the track so that only it will be heard on playback. Select All Blocks in Track As you’d expect. hold down the Ctrl key while clicking on the solo buttons of all tracks you wish to put into solo mode. • Lock: If the track has one or more real-time effects applied to it. Each block in the track is highlighted. If you have more than one output device in your system. Insert will shift all material (wave blocks or parts of wave blocks) right of the cursor position to a location after the time amount. Mid (“M”). or Stereo. go to View > Track EQ. • Bit Depth: Here’s where you select whether you want the track to be 16 bit or 32 bit. this command selects all blocks in the current track. the highlighted area will be removed. You can adjust the EQ level of one of these fields by left-clicking on it and dragging. Dragging to the right increases the number. For more equalization control. Wave blocks will be split if necessary.

258 CHAPTER 13 Navigating the Multitrack View Block Context Menu Right-clicking on a block in the Multitrack View session window will invoke the Block Context menu. The Block Context Menu for a Wave Block Edit Waveform This command immediately displays the selected wave block in Adobe Audition’s Edit View so that you can edit it. Loop Properties Select this command (which is only available on the Block Context menu when you right-click on a wave block) to see Adobe Audition’s Wave Block Looping dialog. or MIDI) selected. video. The items that appear on the Block Context menu will vary depending upon the type of block (waveform. Wave Block Looping Dialog .

If you change the number in the Every X beats field. When you fill in the Number of Beats field above. Options are provided for Quality (High. Medium. you’ll always want to lock position to tempo. Frame Size (the number of splices per beat). High. the block is moved so that it starts at the same beat. or Low). the file won’t be stretched to match tempo. and the percentage of Frame Overlapping. you’d normally want to have Repeat every X beats selected and enter the number of beats in the Source Waveform Information area below. • Lock position to tempo: Checking this box locks the left edge of the block to the bar/beat. However. • Tempo is the number of beats per minute in the waveform. But you may have a one-shot type wave that’s not a loop (like a thunder clap or a gong) and want it to start in time with other music that’s aligned to the session’s tempo. If you change the number in the Repeat every X seconds field. all instances of that waveform will be pitch shifted to match the multitrack session’s key as specified in View > Session Information. • Tempo Matching determines how (if at all) the loop will stretch to match the session’s tempo. the wave block can be looped by dragging the right edge of the wave block. Medium. then the file will play at the bpm specified in the blank above regardless of the session’s tempo. When you do so. . Normally you’d want to have this option selected and enter the number of beats in the Source Waveform Information area below. • Simple Looping (no gaps): With this option chosen. • Key: Use this dropdown menu to enter the waveform’s key. • Repeat every X beats: If the wave block already has loop info entered. if you play a 100 bpm loop in a 120 bpm session. the BPM (Beats Per Minute) is automatically calculated and entered into the Tempo box below. If you specify a key for a waveform. • Looping: Use these options to determine the looping method. Adobe Audition will stretch the file to force a loop to complete in the specified number beats. Source Waveform Information Choose among these options: • Number of Beats: Enter the waveform’s number of beats in this field. and as such. with no spaces between looping instances. the loop will be stretched to match. • Fixed Length: If this option is chosen. and Low Quality options are available. the proper values in the Repeat every X seconds and Repeat every X beats fields will be entered automatically so that the wave block will loop continuously at the proper tempo. This disables the “bpm” field above. So if you change tempo. Four options are offered. the file plays at the session’s tempo no matter what its native tempo was. the proper values in the Repeat every X seconds and Repeat every X beats fields will be entered automatically so that the wave block will loop continuously at the proper tempo. • Resample will cause Adobe Audition to resample the loop to match the session's tempo. If you don’t have this checked. Normally if you’re stretching to tempo. • Follow session tempo: When this is checked.ADOBE AUDITION 259 User Guide • Enable Looping: When this box is checked. For instance. the Tempo value is automatically calculated. • Repeat every X seconds: If the wave block already has loop info entered. the wave block will loop continuously. Adobe Audition ignores the tempo of the file and stretches the file to force it to finish its loop every X seconds. • Time-Scale Stretch: Select this option to stretch the file (just like Adobe Audition’s Stretch effect) to match the tempo of the session. the pitch will be affected.

preserving the previous waveform. if you have drums. • Delete Current Take: This removes the selected take. • Take List: This is a list of takes available as alternates for the selected waveform block. and will take up drive space until deleted. Note: The Punch In function will automatically enable Allow Multiple Takes for the selected Punch area. of the block is created and recorded into. Note: Each take exists as an actual waveform on your hard disk. If the default values of 10dB and 9 milliseconds aren’t satisfactory.260 CHAPTER 13 Navigating the Multitrack View • The Beat Splice option actually tries to cut up the file at the beats to loop the file that way. Take History is simply a list of each of these instances. With multiple takes. Adjust Wave Volume This command displays a small floating window which includes a slider for adjusting the block’s overall volume. This only works on loops that have very sharp (short duration) sounds. You may also adjust the block’s volume by entering a decibel value in the box above the slider. and you modify the loop properties on one of its blocks. enter the number of half-steps in this field. or “take”. recording is done into the same spot each time. the Auto-Find beats option will be selected. of the block is created and recorded into. Otherwise. material isn’t overwritten when recording into an existing waveform block. a new instance. or “take”. Punch In takes are automatically deleted when Merge Current Take is selected. like drums. merge them back into the surrounding material they once belonged to. • Transpose Pitch: If you want to transpose pitch of the looped block. you can change them in the fields provided. Instead. • Adjust ALL loop-enabled blocks that use this wave: Check this box to globally change the settings for all blocks that reference the same waveform. while moving the scroll control downward reduces the volume. Instead. If the waveform already has beat markers. a Take History is preserved for the selected waveform in the event that it’s recorded over. allowing you to move between them. deleting it from your hard drive. With Allow Multiple Takes disabled. Dragging the slider’s scroll control upward raises the block’s volume. Take History The Take History function is available for any track that has Allow Multiple Takes enabled. and in the case of a Punch In. Material is not overwritten when recording into an existing waveform block. Allow Multiple Takes With this option enabled. preserving the previous waveform.wav inserted into the Multitrack View four times. a new instance. you may elect to use them. . the other three instances of drum. • Merge Current Take: Choose this command to merge a take completed with Punch In back into the surrounding material. That is. Negative and positive numbers are both valid. delete them. where positive numbers raise the pitch by half steps and negative numbers lower the pitch.wav in the session will be adjusted as well.

which can be used to adjust several of the wave block’s parameters. Wave Block Properties Dialog . Adjust Wave Pan Use this command to display a small floating window which includes a slider for adjusting the block’s overall pan. Dragging the slider’s scroll control to the right pans the block to the right. Pan Control Note: Each track has a global pan setting. while moving the scroll control to the left pans the block to left. You may also adjust the block’s pan by entering a value from –100 (hard left) to 100 (hard right) in the box to the right of the slider.ADOBE AUDITION 261 User Guide Volume Control Note: Each track has a global volume setting. while each block within the track has an individual volume setting. This command only appears on the Block Context menu when you’ve right-clicked on a waveform. Wave Block Properties This command displays Adobe Audition’s Wave Block Properties screen. while each block within the track has an individual pan setting.

thereby moving the wave block forward or backward through the track. Adjust MIDI Tempo Dialog Zoom in/out (MIDI Block Only) There are 127 note values that a MIDI note can be assigned to. • Pan: This horizontal slider is used to pan the wave block to the left or right channels of your stereo mix. Set Tempo (MIDI Block Only) The command displays the Adjust MIDI Tempo box. However. with 100 being the default (no change in tempo). while values of 99 and under slow down the MIDI block’s tempo. • Mute: When this box is checked. Values over 100 speed up MIDI playback. • Lock in Time: Check this box to prevent the wave block from being moved forward or backwards through the track • Lock for Play Only: This option prevents the wave block from being recorded over. Adobe Audition figures out which is the highest note in a MIDI block and which is the lowest and zooms in the note display in the block so that the highest note is at the top and the lowest is at the bottom. Transpose (MIDI Block Only) Use this command and its submenu options to transpose the key of a MIDI block up or down by up to 7 steps. which gives you lots of extra space in the block. The value used is percentage. If you want to hear all of the MIDI block’s tracks. You can edit this value directly by highlighting the numbers in the field and typing over them. where you can make changes to the tempo of the MIDI block using the Tempo field provided. Non-muted blocks in that track will play as normal. • Time Offset: This field shows how far the beginning of the wave block is from the starting point of your session. checkmark the All item. . all the values are displayed on scale with the 127 note values. You can also directly specify a dB value in the text box above the slider. • Hue: Adjust this slider to change the color of the wave block. The top field is editable. You may also directly designate the block’s pan value by entering it into the box to the right of the slider. while 100 means the block is panned all the way to the right channel. the block’s sound is turned off. You can also enter a hue value from 0 to 255 directly in the field over the Hue slider. Checkmark a track and Adobe Audition will playback only that track when the MIDI block is played. which disables the Tempo field. • Filename/Path: The name of the wave block (which is initially its filename minus the extension) and the path of the wave block are shown in these two fields. Active Track (MIDI Block Only) This command’s submenu lists all of the tracks in the MIDI block.262 CHAPTER 13 Navigating the Multitrack View • Volume: Use this vertical slider to adjust the wave block’s amplitude. By default. A value of -100 is a hard left pan. Check the Use session tempo box to use the tempo value already specified in View > Session information. If you select Zoom Out. it will actually change the filename when that block is saved back out. so you can change how the wave block’s name is shown in the session.

which allows you to change the color of the current group of blocks. The original video stream is actually untouched. or you can directly enter a hue value from 0 to 255 in the field provided.ADOBE AUDITION 263 User Guide Set Controller 7 (MIDI Block Only) The Controller 7 value for a MIDI file is the master volume setting. Group Color Dialog . This value gets sent out each time a MIDI file is played and tells the MIDI playback device what volume to play this file at. Grouped blocks are designated by a different color than ungrouped blocks. That is. which is automatically placed in the Edit View’s Wave Display. Select from one of 32 preset hues by clicking on it. a new video file will be created where all of the audio which is concurrent with the video block is mixed down and provides the soundtrack. and then the video stream from the original video block provides the video stream. The MIDI Controller 7 dialog Save Mixdown to Video As (Video Block Only) When this command is selected. Group Color This command invokes Adobe Audition’s Group Color dialog. as well as a special circular symbol overlaid each block. This option just lets you change the controller value directly in case you have a MIDI file whose Controller 7 value is too low or high. so this is the method by which you could save back out a video block with a new soundtrack. Mix Down to File Running this command (which is only visible when two or more blocks are selected) will mix the selected blocks into a new stereo waveform. the audio session will be mixed down with the loaded video file to create a new soundtrack for the video. This feature is fully documented in the “Edit Menu – Multitrack View” chapter. Note: The Block Context menu’s Group Color command is only displayed when you have blocks that have been grouped. Group Blocks This option will group any selected blocks together. This new waveform is automatically placed in the Edit View’s Wave Display. Mix Down to File (Mono) Run this command (which is only show when multiple blocks are selected) to combine the selected blocks into a new mono waveform. You may also use the slider to find a color.

and Snapping functions to make your selection. Block Color Dialog Punch In When a particularly difficult passage is being recorded. you can switch back to Adobe Audition’s Edit View and use the Find Beats. you can continue on (as though nothing had happened) and record over the mishap at a later time – this process is known as a “punch in”. You may also use the slider to find a color. For an exact selection. No big deal! You can either stop and pick up from before the mishap. you can take another pass at the Punch. Or. Punch In will work on one or more waveforms at a time. Punch In is a recording technique used to replace a section (perhaps a mistake of some kind) in an existing track segment. To use Punch In: • Highlight the area of the waveform block (or blocks) you would like to Punch into. or you can directly enter a hue value from 0 to 255 in the field provided. which allows you to change the color of the current block. (Punch Ins and Take History are both available by right-clicking on the wave block. allowing you to choose any change level between its original un-punched state and the current waveform level. Note: Whenever one or more Punch Ins has been performed within a wave block. The session will begin playback.) The Take History option lets you revert the waveform block back to any previously-available take level. This essentially acts as a selective undo function. Use the desired Merge Take command on the right-click menu when you’ve decided among them. • You can position the playback cursor sometime before the Punch In location and press the Record button. or from the menu that appears when you right-click on the waveform block. you can continually record over the original material and afterward choose between the best performance. Zero Crossings. • After recording. and upon hitting the Punch point. you can monitor the different takes by right- clicking on the waveform block and choosing them from the Take History menu option. a Take History option will be activated. and then switch back to Multitrack View. This will enable the selection for record and put the track into record mode. or return to the original data. while material in-between these points is replaced with (hopefully) a better take. When finished.264 CHAPTER 13 Navigating the Multitrack View Block Color This command invokes Adobe Audition’s Block Color dialog. it’s not uncommon for a note or words to be missed or totally screwed up. Select from one of 32 preset hues by clicking on it. Adobe Audition allows for multiple takes when Punching In. will record into the selected area. Replacing this segment usually entails starting and stopping record at exact moments in order to retain the surrounding audio. . • Choose Punch In from the Edit menu.

. Three main types of crossfades are available. They do so by creating a fade out and a fade in over the transition region. choose Edit > Crossfade (or Crossfade from the right-click menu) and the type of crossfade you want to do to crossfade between the selected waveforms. producing a steeper slope at one end of the fade. depending on whether you are fading in or out. Next. enter the number of times you’d like to create an Image of the waveform block. and should start a bit before the beginning of the waveform(s) to fade to. Loop Duplicate Dialog • Repetitions: In this field. Decide if you want no gaps between each duplicated waveform block. Note: The Crossfade toolbar button uses Linear fades by default.) After establishing a highlighted area. Crossfade Crossfades are used to create smooth transitions from the end of one audio segment to the beginning of another. Waveforms to crossfade between should be positioned in different tracks (or can be in the same track. This will make it easier to achieve a natural sound. which can be specified in the field provided. Logarithmic will fade the amplitude of a signal at a constant rate. make a selection with your mouse and include in it the beginning and ending sections of any waveforms you wish to include in the crossfade. sine-like slope to the fade. If possible. choose sections of the waveform where there are gaps in the audio for your Punch points. The highlight should extend a bit beyond the end of the waveform(s) to fade from. Choose Crossfade from the Edit or right-click menu to specify a different crossfade type. you need to select the waveforms to include in the crossfade by holding down the Ctrl key and left-clicking on the desired wave blocks. adjacent if possible. Choose Linear for an even grade. To crossfade. Or. in effect. if Edit > Snapping > Snap to Blocks is enabled. as if it were all one take. Modify the fade curves created with Crossfade by enabling the Show Volume Envelopes and Enable Envelope Editing options in the View menu. a loop of the waveform. and Sinusoidal for a curved. Loop Duplicate Loop Duplicate will create a specified number of consecutive Images of the selected waveform block creating. or if you wish them to be evenly spaced by a certain amount. • Spacing: Two options are provided here.ADOBE AUDITION 265 User Guide Note: You can’t use Punch In on video or MIDI blocks. (You can also adjust the highlight by holding the Shift key down when doing a left-click near the edge of the selection. in a back-to-back manner). the highlight will easily adjust itself to the beginnings and endings of the waveforms.

to soften the echoes (also. double-click on it (which will open the waveform in the Edit View window). 4 Repeat this any number of times. To add multiple effects to an existing waveform non-destructively in Multitrack View: 1 Create a copy of the waveform using Edit > Convert to Unique Copy. or close to 100% wet. 4 You can then vary the effected waveform’s (and the original’s) volume and pan envelopes to bring the wet/dry in and out. . and depending on the situation. Images have the advantage of not consuming any disk space. placing the delayed Images at every beat. This way it will simultaneously playback both original file and the effected one. The newly processed file can then be placed into the multitrack environment.) 3 Insert the processed copy into the multitrack environment. the combined waveforms will increase the track's overall level in the mix and could cause clipping). or by saving the file under a new name using Save As in the Edit View. 2 Once a copy of the original file has been made. Try reducing the volume levels slightly for each Image. Copying a waveform block in the multitrack environment (as opposed to creating an Image) will create a separate audio file on disk. for example would be flanged. (With Images. while the same sound placed in your verse can be dry). etc.266 CHAPTER 13 Navigating the Multitrack View To use the Loop Duplicate function to create interesting time delay effects: 1 Start by placing the source waveform into the Multitrack View. identical to the original in size and disk space consumption. Repeat this operation for other effects to have separate control over a number of effects (one for Flange. for example. one for Reverb. Convert to Unique Copy This command creates a copy of the selected waveform block. you can use File > Save As… to create a copy of the file that can be transformed using any Effect function. From there. Creating a copy of a waveform block has the advantage of allowing for separate editing of each occurrence of the waveform (you can add reverb to the one placed in your intro. (The original waveform that you copied will provide the dry element. and all 30 instances. 2 Once entered. You can even create in tempo delays by changing the Display Time Format to Bars and Beats and use the Snapping function to Snap To Ruler locations. you can add a Flanger effect to one instance. The Image should be placed onto a new track (such as below the existing track). small amounts to create phase shifts (small time offset). For effects that have wet/dry balancing. it may be an advantage to be able to affect all occurrences of a waveform block by editing the original once. shift the Image in time. in a different track.). You can also create both Pan and Volume envelopes for each Image for truly dynamic delay effects that change over time. To quickly add an effect to a waveform block within the Multitrack View. to the right of the original. hold down the Shift key and right-click on the waveform and drag it to make an Image. or pan right and left. shifting each Image slightly more to the right. placing it into an adjacent to the original. 3 Next.). larger amounts to create delays (15-50 ms offsets) or echoes (50 ms or greater offsets). set them to 100%. so the result is primarily effect. add any processing or effect you like to it.

Locking a waveform is useful when you’ve decided upon its position in time. and don’t want to accidentally move the waveform when right-clicking on it. Adjust Boundaries This function will adjust the boundaries of the selected waveform block either inwardly or outwardly. it may be vertically repositioned. it “cuts” the waveform. highlighting the middle second and choosing Adjust Boundaries will trim off the surrounding material (the first two seconds and the last two seconds). To unlock a waveform. for instance. The boundaries of the segments are joined together using a 30 millisecond crossfade. and are displayed as “grayed-out”. While a waveform which has been locked can’t be moved in time (left or right). Muted blocks are ignored during playback and mixdowns. you can highlight the middle second plus a little to the right. each segment can be moved. simply select it and choose Lock in Time to free it for horizontal movement. For example. leaving just the middle second. After highlighting to define an area to adjust to. If you decide you’ve trimmed off too much. This command is different than Track Muting (which occurs when you press the Mute button in the Track Console area). . removing that which is outside of the highlight (or including material inside the selection that is not currently revealed). Even though the track that the playback-locked block resides in may be record-enabled (it has the red “R” button on the Track Console depressed). This is signified by the waveform block not turning red when the track is record-enabled. and again choose Adjust Boundaries to bring back that little bit to the right. segmenting it into parts. Locked waveforms are identified by an overlaid graphic of a circled padlock. The cut is performed at the current cursor point. it does not alter the waveform on disk. Align Left The Align Left command (which is only accessible if two or more blocks are highlighted) to make the left- hand edges of all highlighted blocks the same as the left-hand edge of the last highlighted block. Splitting a waveform is non-destructive. thereby lengthening the waveform block. deleted. the file is rewritten with the new material. Align Right Click the Align Right command (which is only visible when two or more blocks are highlighted) to make the right-hand edges of all highlighted blocks the same as the right-hand edge of the last block you highlighted. Lock in Time Lock In Time “locks” selected waveforms to their current time location in the multitrack session. Note: This merge operation is destructive in that it does alter your sound file (when rejoining a Punch In segment. Split The Split command functions similarly to a traditional tape splice.ADOBE AUDITION 267 User Guide Mute Block This command mutes or unmutes the selected blocks. any material in the waveform block that lies within this highlight will be retained or exposed. Lock for Play Only This command disables the ability of a waveform block to be recorded into. Once a block has been split. the marked waveform will not be recorded over. with a 5 second waveform block. The Merge/Rejoin Split command can also be used to rejoin a take created using Punch In to the rest of the waveform. and in the same track as the original segment(s). for example). or slid in time independently of the other segments. allowing you to move it between tracks. which disables all waveforms within a track. provided that the split segment sits at the same relative location as where it was split from. or selection (in this case the selection will be spliced out). Merge/Rejoin Split Merge/Rejoin Split recombines a split segment of a waveform block with the original surrounding material.

then zoomed out to adjust the highlight boundaries to your satisfaction. use Ctrl+Shift+Backspace. When finished. Trim will only remove that which is outside of the highlight for the selected waveform block. Trim. switch back to Multitrack View (the highlight will be retained) and choose Adjust Boundaries to have the waveform block readjust to match your highlight. Destroy Block (remove & close) This will remove the selected waveform from the multitrack session. double-clicked to highlight the displayed area. You may return any trimmed waveform to its original state at any time by selecting it and choosing Edit > Full. You may return any trimmed waveform to its original state at any time by selecting it and choosing Edit > Full. and close the waveform. or Cut (while in Multitrack View) will be replaced. For example. If you want to remove unwanted material around a highlighted region. Note: Selecting Full for a waveform block when its segments have been moved will return any missing material at that location. selecting it. Using Cut in Multitrack View simply tells Adobe Audition to “disregard this material” when playing back. this Cut command does not remove any data from the actual waveform. so this may result in having more than one instance of the same waveform block portion throughout a session. Note: Unlike the Trim command in Adobe Audition’s Edit View. Trim. highlighting the middle 1 second. To destroy the waveform without being prompted to save. and places nothing on the clipboard. You may return any Cut waveform to its original state at any time by selecting it and choosing Edit > Full. Cut Cut will remove the highlighted portion of a selected waveform. Use the Shift+Backspace hotkey to quickly destroy a block. leaving the 2 second portions on both sides. Note: Unlike the Trim command in Adobe Audition’s Edit View.268 CHAPTER 13 Navigating the Multitrack View Note: To fine tune your adjustments in the preceding example. using Adjust Boundaries to trim doesn’t remove any data from the actual waveform. use Edit > Trim instead. you could also have double-clicked on the trimmed block to bring up the Edit View. Trimming in Multitrack View simply tells Adobe Audition to “disregard this material” when playing back. Trim This Trim command works in the same fashion as Trim in the Edit View. and choosing Cut will remove the middle 1 second. They’re also available to the session via Insert > File/Cue List until the audio files are closed from the File menu. Note: Unlike Cut in Adobe Audition’s Edit View. Remove Block This command removes the selected (highlighted) block from a multitrack session. You may also trim an area using the Adjust Boundaries command. this version does not remove any data from the actual waveform. Full This option returns any selected waveform block that has been modified with the Adjust Boundaries. Use Trim to remove unwanted material around a selection. if track 3 contains a waveform that is 5 seconds in length. . Trimming in Multitrack View simply tells Adobe Audition to “disregard this material” when playing back. Removed waveforms will still be available in Adobe Audition’s Edit View. Trim differs from Adjust Boundaries in that Trim won’t reveal any material within a highlighted region. All material will be removed from the selected waveform block except the portion within the highlight. or Cut commands to its original. full state. Any material removed using Adjust Boundaries.

5 Use the Bus Properties dialog to give the bus a friendly name and change its output device if desired. Instead of processing each track separately (which might have a significant drain on your computer’s processing speed). a bus is “an electrical conductor that makes a common connection between several circuits”. About Busses Adobe Audition gives you the ability to organize multiple tracks into busses.) 3 Click on the name of the bus you wish to add the track to. electronically speaking. 6 Press OK to close the Playback Devices dialog. . just one bus – “Untitled Bus (A)” – will be listed. Up to 26 buses may be created. you can add the four tracks to their own bus and then apply the reverb to the bus. plus add some reverb. Since they’re non-destructive.) This will display the Playback Devices dialog for the track. Press OK when you’re done. Real-Time Effects have parameters that may be adjusted while listening to the results as part of the mix in the Multitrack View. or FX Mix envelopes from the highlighted portion of a selected block. In addition. a bus lets you make a common connection between several tracks. In the case of Adobe Audition’s Multitrack View. and Multitrack. and equalization properties. but here’s the easiest: 1 Press the Output button in the Track Controls. as well as assign any Real-Time Effects to the bus. Off-Line. Let’s say you’re recording a song that has four tracks of background vocals. How to assign tracks to a bus Adobe Audition provides several ways of assigning tracks to busses.) About Real-Time Effects Adobe Audition offers three types of effects: Real-Time. 2 In the bottom part of the Wave tab of the Playback Devices dialog you’ll see a list of existing Busses. If it’s the first time you’ve used busses in Adobe Audition. (Notice how the track’s Output button now shows the letter of the bus.ADOBE AUDITION 269 User Guide Envelopes Use this command’s submenu options to clear the Volume. (The button says “Out 1” by default. as well as uses spline (curved) envelopes instead of Adobe Audition’s default envelope style (which has straight lines between the envelope’s control points). Sometimes it’s more convenient to group two or more tracks together into a bus in order to apply real-time effects or give the tracks the same volume. The dictionary states that. Pan. which is especially useful for adding one or more real-time effects to and/or adjusting the gain for a common group of tracks. Real-Time Effects may be used like Off-Line Effects in Adobe Audition’s Edit View. (You can press New Bus… to add another bus to the list – up to 26 if you want. 4 Press the Properties… button to display the Bus Properties dialog. pan. You want to apply a bit of compression to those tracks to give them a more punchy sound. they don’t actually change the physical sound files in the tracks they’re applied to.

Dynamics Processing. and Sweeper Phaser • Filters: Dynamic EQ. Graphic Equalizer. Full Reverb. Quick Filter. (Don't worry – if Undo is active. which means they always physically change the waveform they’re applied to. Insert Audio From CD. You’ll need to switch to Edit View before you can apply them. Flanger.270 CHAPTER 13 Navigating the Multitrack View Off-Line Effects can be used on waveforms that are part of a Multitrack Session. Hard Limiting. 2 Click on the Effects tab of the Organizer Window. and Parametric Equalizer • Special: Convolution and Distortion • Time/Pitch: Stretch Off-Line Effects include: • Amplitude: Amplify. Pan/Expand. and Tones • Filters: FFT Filter. but here are the two most common. you can easily reverse the “destruction”. Real-Time Effects include: • Amplitude: Channel Mixer. Hiss Reduction.) . and Noise Reduction • Special: Binaural Auto-Panner • Analyze: Statistics • Time/Pitch: Doppler Shifter and Pitch Bender Multitrack effects include: • Envelope Follower • Frequency Band Splitter • Vocoder Assigning a Real-Time Effect to a track There are several ways to add a Real-Time Effect to a track. and Stereo Field Rotate • Delay Effects: Chorus.) Multitrack Effects may only be used in the Multitrack View. and Normalize • Generate: DTMF Signals. Graphic Phase Shifter. but not in real-time. Noise. Notch Filter. and Scientific Filters • Noise Reduction: Clip/Pop Eliminator. 3 Choose the desired Real-Time Effect from the list. Delay. Envelope. Dynamic Delay. Echo. (Notice that the names of the non-Real-Time Effects are disabled or “grayed out”. Multitap Delay. Reverb. Echo Chamber. Clip Restoration. The Organizer Window Way: 1 If you don’t have the Organizer Window open. Off-Line Effects are destructive. press the F9 key to display it. Quick Verb.

The Track Controls Way: 1 Press the FX button for the track you wish to apply a Real-Time Effect. In fact. Functionally. About dialog boxes for Real-Time Effects When you work with Real-Time Effects in Multitrack View. you’ll notice that the look of their dialogs is a little different from the way they appear in Edit View. 3 Press the Add . as opposed to the more traditional Windows look.> button to add the effect into the Current Effects Rack (the left column) for the track. 5 Press Apply if you want to add another effect to the track. the Track Effects dialog will appear. allowing you to adjust the properties for the effect you’ve just added.ADOBE AUDITION 271 User Guide 4 Hold down your left-mouse button and drag the effect over to the track. most of the time the control layout is even the same. They take on the visual characteristics of the main Adobe Audition interface. • The Dynamic EQ. However. Dynamic Delay. Almost always they match up control for control with their non-real-time counterparts in Edit view. This will cause the Effects Rack dialog to appear. 2 Choose the desired effect from a list of installed Real-Time Effects in the left column. . as well as the amount of Wet/Dry mixing of the track’s effect. 6 Press OK when you’re finished. 4 Highlight the effect’s name in the left column and press the Properties… button to set the effect’s parameters. and Pan/Expand effects have their envelopes directly on the wave blocks instead of having separate controls to draw the envelopes on. 5 When you release your mouse button. the Real-Time effects are the same as their Edit View versions. not tempo stretching. there are two notable exceptions: • The Stretch effect only does pitch shifting in real time as a track effect.

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Session files don’t contain their associated waveforms. Popular sample rates are already listed. Higher sampling rates mean a wider bandwidth. empty session. where you record or insert audio into multiple tracks. just click on one to select it. . Note: Keep in mind that your session files save just the information that relates to a current multitrack project. Any audio files to be used in a session must share these properties.ses) files and their specific structure to save all of the information that relates to a current multitrack project. keep in mind that most sound cards only support certain sample rates. or be converted upon inserting them. saving. This information includes audio file placement. New Multitrack Session dialog Sample Rate This value determines how many frequencies can be encoded in the audio signal. you’ll be prompted to specify its sample rate. mute/solo settings. It’s important to keep your waveforms intact and within their original folder. However. All of your multitrack masterpieces are saved to and recalled from disk as a session file. and more. When creating a new session. Or. Only one session can be active at a time. and otherwise manipulating session files. About Sessions An Adobe Audition “session” uses session (*. mix/pan parameters. enter a custom number in the Sample Rate box to specify a different rate from those provided. New Session This command creates a new.273 Chapter 14: File Menu – Multitrack View T he File menu in the Multitrack View offers functions relating to opening.

The Append a Multitrack Session dialog is virtually identical to the Open a Multitrack Session dialog.ses. and begins track placement at the end of the currently open session.ses) file. along with the sampling rate and number of tracks used. selecting the All files (*.extension (such as *. This allows quick access to frequently used folders. such as *.*) listing displays all files in the current folder. allowing you to load an existing session (. you’ll see all the waveforms referenced by a session in the Component Files list. The selected session must have the same sample rate and bit resolution as the session to be appended to. then using Append to Session… to open another four track session would place the new material into tracks 5-8. Append to Session This command opens an existing session and all of its associated audio files. Show File Information If this item is checked. For example. Look in Use this drop-down list to navigate through all available drives and folders. if it resides in the current folder. . As you’d expect. if the currently open session has material in tracks 1-4. Files of type Use this control to filter the display of files in the current folder to a specific type of supported session file.274 CHAPTER 14 File Menu – Multitrack View Open Session This function launches the Open a Multitrack Session dialog. Entering *. along with all audio files used in the session. Open Session dialog Here are the components of the Open a Multitrack Session dialog: Recent Folders The most recently used folders are displayed here in a drop-down menu.ses) displays all files with that extension in the open folder. File name Here’s where you may specify the name of the file you desire to open.

let’s say that we’d like to insert an existing multitrack composition that’s been saved as a session. but adds useful Adobe Audition-specific features.ADOBE AUDITION 275 User Guide Note: You should note that the appended tracks are loaded into the session at the beginning of the project’s timeline (i. Note: More information on the Open a Waveform dialog can be found in the “File Menu – Edit View” chapter. allowing you to select one or more audio files for listening or modification. all of the tracks will load in at the project from its beginning point. If you’d like to add a previously created session to your current session. For example. Appending the desired session into our current workspace (which will place them at the beginning of the timeline. this can easily be done using the File > Append to Session command. plus you’ll be prompted so save any modified (but unsaved) waveforms. Close Session Use this function to close the current multitrack session. Close Session and Waveforms This command closes the current multitrack session. and also closes all waveforms used in that session. Open Waveform Use this command to load an existing waveform or CD track into an Adobe Audition editing window. You’ll be prompted so save any modified (but unsaved) waveforms. . overwriting the original without confirmation. The Open a Waveform dialog appears. the appended waveforms can easily be moved into place by actively selecting the desired waveforms and by right-clicking on any one of them and then dragging them into position.) Once loaded. you’ll be presented with the Save Multitrack Session As window first. onto the next available set of open tracks) we can now select and move the appropriate session waveforms into place (often using the Ctrl-Right Click mouse command to select multiple waveforms) – and Voila – you’ve integrated two sessions into a whole new composition. If the session doesn’t yet exist as a file (not previously saved). Close Only Non-Session Waveforms Select this function to close all waveforms that aren’t being used in the current session.e.. You’ll be asked if you would like to save the session if modification have been made since the last save. It looks and works similar to a standard Windows Explorer Open window (including allowing you to use the Ctrl and Shift keys to select multiple non-contiguous and contiguous files respectively). Save Session Access this command to save the current session back to disk. You’ll be asked if you would like to save the session if you’ve made any modifications since the last save.

*) listing displays all files in the current folder. Adobe Audition will automatically add the “.276 CHAPTER 14 File Menu – Multitrack View Save Session As The command brings up the Save Multitrack Session As dialog. selecting the All files (*. You’ll be prompted to save any modified (but unsaved) waveforms. This allows quick access to frequently used folders. As you’d expect. copies of all files used in the session (including waveforms) will be saved in the same folder as the . The default is *. Files of type Use this control to filter the display of files in the current folder. the Options button is enabled. Save Multitrack Session As dialog Here are components of the Save Multitrack Session As dialog: Recent Folders The most recently used folders are displayed here in a drop-down menu. Options When the Save copies of all associated files box is checked. allowing you to save the current session to a new name or location.ses files. along with all waveforms used in the session. Free space on all available drives is displayed in the right section of the window.ses file. Pressing it brings up the Session Save Copies of all files Options dialog. Look in Use this drop-down list to navigate through all available drives and folders. . File name Here’s where you specify the name of the session.ses” to the filename when you save it. Save copies of all associated files If this item is checked.

Press it to display Adobe Audition’s Waveform Conversion Options dialog.ADOBE AUDITION 277 User Guide Session “Save Copies of all files” Options Session Save Options dialog Save all copies in this format Check this box to activate the drop-down menu below. If the chosen format has options. . or format. which is essentially identical to the Edit View’s Convert Sample Type control. which lists many commonly-used sample rates. which allows you to save the current mixdown to a new name. Convert Sample Rate Checking this box enables the drop-down menu to the right. which lets you choose the format to save the files to. Free space on all available drives is displayed in the right section of the window. It also enables the Conversion Properties… button. the Format Properties… button will be enabled. Remember these settings for next time Check this box if you wish Adobe Audition to always use the Save all copies in this format and Convert Sample Rate settings each time. location. allowing you to adjust format parameters. Save Mixdown As This command brings up the Save 16-bit Mixdown To or Save 32-bit Mixdown To window (depending on if you’re working in the 16-bit or 32-bit realm). Chose the sample rate you wish to convert your session files to. You’ll also use the File > Save Mixdown As… function to save newly-constructed mixdowns to disk.

) Press the Options button to bring up a window to select the desired settings. Save in Use this control to navigate through all available drives and folders. If you don’t want to see this dialog box again. . Some formats can’t be written to using waveforms of certain sample types. Options Most audio file formats support various options. Save extra non-audio information Uncheck this box if you don’t want to save header fields such as copyright and author information.mp3). Select from the drop-down box to quickly navigate to a listing. unchecking the box is highly recommended. such as Windows PCM (*. Save as type Use this control to choose the format you wish to save from the drop-down list of supported file types. Recent Folders This shows the most recently used folders.278 CHAPTER 14 File Menu – Multitrack View Save Mixdown As dialog Here are the major components of the Save Mixdown As dialog. check the Don’t display this message in the future box.wav) or MPEG 3 (*. Adobe Audition asks you if you want to convert before saving. Note: If you plan to burn the waveform to compact disc using another program. Some CD recording interprets non-audio information incorrectly and will place an unpleasant burst of noise as the beginning of each CD track. In this case. the Options button is disabled (“grayed out”). (See the “Waveform File Formats” chapter for more infor- mation. and suggests that you keep a backup of your original file if you wish to preserve full audio fidelity. Adobe Audition also warns you if you’re trying to save a waveform to a compressed (lossy) format. If the format doesn’t have any options. File name Here’s where you specify the name of the file.

the ability to save back the audio track only works with .avi files. The window also automatically appears when available hard drive space nears zero kilobytes. This command brings up the Save 16-bit Mixdown To Video or Save 32-bit Mixdown To Video window (depending on if you’re working in the 16-bit or 32-bit realm). Note: More information about the Free Up Space in Temp Files dialog can be found in the “File Menu – Edit View” chapter.) The template session will be loaded every time a new session is created. Default Session If you’d like to make the current session the template for future sessions.ADOBE AUDITION 279 User Guide Save Mixdown To Video As If you have an . If your system has lots of available free hard drive space. which allows you to select the audio format for the . You might want to do this because of specific device assignments or session master volume settings. (If the current session contains blocks which may not exit in the future. Save All Run the Save All command to save all open. which allows you to save the current mixdown and video to a new name. or format. the Options… button brings up the Installed Audio CODEC window. modified session. so you may not see this window unless you manually call it from the File menu. The Save Mixdown To Video window is nearly identical to the Save Mixdown As window previously documented. Note: While Adobe Audition can open other types of movie files to get at their soundtracks.avi video file inserted into the session. However. you can mix down the session and make that your audio track for the video. location. as well as your open. Select Clear Default Session from the Default Session submenu to make Adobe Audition “forget” the previously saved session template settings. Free Up Space in Temp Files Use this command to bring up the Free Up Space in Temp Files window for managing Adobe Audition’s use of the space on your hard drive(s). modified waveforms to disk.avi file. Adobe Audition’s undo levels are cleared regularly. including the instances of Undo for each waveform. Adobe Audition will ask you if you still want to use the session for the default layout. select Set Current Session as Default from the Default Session submenu. .

type the number that’s associated with the desired Session.280 CHAPTER 14 File Menu – Multitrack View MRU List The Most Recently Used list displays the last nine session files opened in Adobe Audition. You can quickly open any of these files (providing they haven’t been deleted or moved) by selecting it from the list with your mouse. . Or. this command closes Adobe Audition. Exit As you’d expect. All temporary files that Adobe Audition has created are deleted as well. or are any edited audio files that are open that haven’t been saved to disk. If the session has been modified. you’ll be asked if you want to save them.

For example. there must be a checkmark next to Enable Envelope Editing (further down the View menu). A wave block with its Pan Envelope set to pan hard left. and then back to center Note: To change a pan envelope. Note: Pan Envelopes are nondestructive. meaning they don’t affect the original audio file in any way. The top of the block represents 100% (normal) application. you won’t hear the envelope panning. if you return to the Edit View or go to another application and play a sound file that you’ve applied an envelope to. The only time this envelope is applied is within Adobe Audition’s Multitrack View. while the bottom of the block represents full attenuation (silence). then hard right. Pan envelopes appear as a vertical blue line through the center of the block and represent the sound file’s left/right stereo placement – the top of the block is hard left. Show Pan Envelopes Checkmark this option to show the Pan Envelopes for each block in the session display. The face of the View button represents the target View that the system will “jump to” when pressed. A wave block with its Volume Envelope set to do a slow fade out starting about halfway into the block . Therefore. Show Volume Envelopes Select this option to show the Volume Envelopes for each block in the Session Display.ADOBE AUDITION 281 User Guide Chapter 15: View Menu – Multitrack View T he View Menu displays options that relate to change the display or viewable area when in the Multitrack View mode. Volume envelopes appear as a green line that initially goes straight across the top of a block. you’ll go to the Edit View. this button’s appearance changes to let you know that if you push the button. where individual waveforms may be modified. Edit Waveform View This command switches to Adobe Audition’s Edit View mode. and the bottom is hard right. when you’re working in Multitrack View. Pressing the leftmost button in the Multitrack View File toolbar takes you to Edit View mode.

(For instance. you won’t hear the envelope volume changes. If View > Status Bar > Data Under Cursor is checkmarked. think of a piano: it plays loudly when you bang on the keys and softly when you lightly touch them. Show FX Parameter Envelopes With this command checked. if you find that your MIDI files sound a little stranger than normal when using volume envelopes on your MIDI blocks. if you return to the Edit View or go to another application and play a sound file that you’ve applied an envelope to. there must be a checkmark next to Enable Envelope Editing (further down the View menu). the track is 100% dry (which means the original track is unaffected by the effects). However. there must be a checkmark next to Enable Envelope Editing (further down the View menu). However. The only time this envelope is applied is within Adobe Audition’s Multitrack View. an envelope for that setting will appear. Note: Wet/Dry Mix Envelopes overlap with the Volume Envelopes. When the envelope is at the top. A wave block with its Wet/Dry Mix Envelope set to slowly transition from Dry to Wet over the course of the block Note: To change Wet/Dry Mix envelopes. To help you understand. Dynamic EQ. some synthesizers are programmed so that velocity changes the pitch or the harmonic content of the sound instead. Effects Envelopes appear when you apply certain Adobe Audition effects to a track. such as Pan/Expand. so you might have to turn off the Volume Envelopes (uncheck View > Show Volume Envelopes) to see them. These envelopes control the wet/dry mix of the effects over time. meaning they don’t affect the original audio file in any way. and the most common way is by changing the volume of a sound. Note: Volume Envelopes are nondestructive.282 CHAPTER 15 View Menu – Multitrack View Note: To change a volume envelope. Show Wet/Dry Mix Envelopes This command enables the display of Wet/Dry Mix Envelopes. you’ll be able to see the mix percentage as you drag an envelope’s control point around. If it’s checked. Therefore. which will appear on any block that is in a track that has real-time effects. Note: Volume envelopes can also be applied to MIDI blocks and edited like they are on audio blocks. this may be why. in other words). they are used to change the velocity at which the notes are played back. the signal coming out of that track is 100% wet (all effects. If the envelope is at the bottom. Dynamic Delay lets you vary Delay and Feedback over time with these envelopes. When you add one of these effects.) . and Dynamic Delay. Many MIDI synthesizers are programmed to respond to velocity so that they sound more “expressive” when played. there will be an Automated checkbox in its settings dialog.

This non-destructive action has the effect of chopping off (and thereby muting) the first or last part of the block. Even if you then turn Block Edge Dragging off. Tempo Envelopes – which are viewonly – show the MIDI file’s tempo map on the MIDI block. . there must be a checkmark next to Enable Envelope Editing (further down the View menu). Enable Block Edge Dragging When Block Edge Dragging is enabled. and Effects Envelopes are placed in edit mode. you can still drag loops with the gripper handle that appears in the bottom-right corner of the block. you’re able to show or hide more or less of a selected wave block by dragging the block’s left or right edge. Dynamic Delay) displayed Note: To change FX Parameter envelopes. Pan. or drag a control point off the block to remove it. If View > Status Bar > Data Under Cursor is checkmarked. Show Tempo Envelopes Checkmark this command to enable the display of Tempo Envelopes on MIDI files. Once added. Block Edge Dragging can be used for looping a file. you can simply drag control points up and down to draw the shape of the envelope. Wet/Dry. where you may click directly on the envelope line to add control points. then check the Enable Looping box in the Wave Block Looping dialog) and drag the edge.ADOBE AUDITION 283 User Guide A wave block with FX Parameter Envelopes (in this case. the file will loop as you drag. If you turn on looping for a block (right-click and select Loop Properties. you’ll be able to get visual feedback as you manipulate an envelope’s control point. A MIDI block with Show Tempo Envelopes turned on Enable Envelope Editing With this command checked. Volume. Note that your mouse cursor changes when it’s over a block’s edge.

is shown in this field. It gives you an alternative to Adobe Audition’s session window by providing a broader overview of your mixing project. you may detach it and have it float above Adobe Audition’s main window. Metronome Press this button to toggle the on/off status of Adobe Audition’s built-in metronome. which will automatically update the beats/bar field. Or. because loops with defined tempos will match the specified parameters (which is most useful with matching tempo). especially if you’re working with more than a handful of tracks at once. which means you can reposition it at one of several places in the Adobe Audition interface. The Track Mixer’s interface mimics a real-world mixing console. Beats/bar This field shows the number of beats-per-bar. which is documented later in this chapter. which consists of two tabbed panes – the Track Mixer and the Bus Mixer – as well as a slider that controls the master volume of your session. Key The session’s key is shown here. A different time signature may be chosen using the drop-down list. You can change this figure by clicking in the field and entering a new number. if desired. The Mixers window is dockable. Select a new key by using the drop-down list. a dockable window which displays useful information about your multitrack session. Show Mixers Window Checking this item displays Adobe Audition’s Mixers window. measured in beats-per-minute. Multitrack Session Properties window Here are the components of the Session Properties window: Tempo The tempo of the session. Click on the field to make it editable so that you can enter a new figure.284 CHAPTER 15 View Menu – Multitrack View Session Properties Click on this command to show Adobe Audition’s Session Properties window. Advanced Clicking on this button takes you to the Advanced Session Properties dialog. Time You’ll see the session’s time signature in this field. This window is especially handy to have visible and docked when you’re working on loop-based sessions. .

You’ll be surprised how often this slider will come in handy. you might want to dock it and resize it so that only the master volume slider is visible. . as well as many other bus parameters. Bus Mixer window Even if you don’t use the Mixers window.ADOBE AUDITION 285 User Guide Tracks Mixer window The Bus Mixer pane provides the controls for adjusting the output of up to 26 of the available buses you can have in Adobe Audition.

if it were set to device #2. The button’s text changes to reflect the output device. it would say “Device 2”. • New: Click on this button to add a new bus to the Busses list. but you can give a bus a “friendly name” by filling out the appropriate field in the Bus Properties dialog. which lets you assign the output properties for the selected track. FX. and M/S – allow you to customize the appearance of the Tracks Mixer. • Busses: A list of all Adobe Audition busses you’ve created is shown here. if it were set to Bus C. Each button corresponds to a different element of the Tracks Mixer interface. By default. EQ.286 CHAPTER 15 View Menu – Multitrack View Tracks Mixer Tab Here are the major components of the Tracks Mixer: View Display Buttons These six buttons – Out. A properties dialog for the new bus appears. . Bus. Pan. M. • Out: Shows/hides the Output device selection buttons • Bus: Shows/hides the West/Dry Bus fields • FX: Shows/hides the FX and Lock buttons • EQ: Shows/hides the three equalization fields (H. busses are automatically named with a letter of the alphabet. it would say “Bus C”. Playback Devices window – Wave tab Wave Tab • Devices: All of your system’s devices that are capable of playing waveforms are listed here. For instance. L) • Pan: Shows/hides the Pan field and control • M/S: Shows/hides the M (Mute) and S (Solo) buttons Out 1 Button Pressing this button brings up Adobe Audition’s Playback Devices window. Or.

ADOBE AUDITION 287 User Guide MIDI Tab Playback Devices windows – MIDI tab A list of all your system’s MIDI output devices is shown here. you can add the four tracks to their own bus and then apply the reverb to the bus. bus. you might have four tracks of background vocals that you want to apply the same reverb effect to. Up to 26 buses may be created. • Bus Properties: Adobe Audition gives you the ability to organize multiple tracks into busses. or MIDI device. For instance. Use the Bus Properties dialog (which looks very similar to Adobe Audition’s Effects Rack window) to specify and change a bus’s settings. Bus Properties Dialog • Friendly Name: By default. or MIDI device as the default for tracks in your session. • Properties: The button brings up the property dialog for the selected Wave device. • Same for All Tracks: Check this box to use the selected Wave device. which is especially useful for adding one or more real-time effects to and/or adjusting the gain for a common group of tracks. Instead of adding that effect to each track (which might have a significant drain on your computer’s processing speed). bus. . Adobe Audition names its busses after a letter of the alphabet – such as Bus (A) – but you can easily rename a bus by highlighting the text in the Friendly Name field and typing over it.

select it and press the Add -> button. FX/No FX Buttons If a track doesn’t yet have an effect assigned to it (regardless of what effects may be assigned if the track is part of a bus). If the Lock button is down and lit. Dragging to the right increases the value. and drag. • Presets: The Bus Properties window supports the saving of favorite settings as presets. To add an effect to a bus. it’s because there are no effects on that track. A typical Effects Rack window Should an effect already be assigned to a track. the Move Down button moves the select effect down in the list if it’s not already at the bottom. To remove an effect from the Current Effects Rack. clicking on the FX button shows the effects properties dialog. select the desired field. select it and press the <-Remove button. a new item is added to the drop-down Presets menu. pressing the No FX button brings up the Effects Rack for that track. the track isn’t locked. A Wet value of 100 means that 100% of the effect has been added and none of the original audio remains. Move an effect up in the Current Effects Rack list (as long as it’s not already in the top position) by selecting the effect’s name and pressing the Move Up button. hold down your left-mouse button. Wet/Dry Fields These fields show the percentage of bus effects that are active on this track. • Installed Real-Time Effects: All installed Adobe Audition and DirectX effects are listed in hierarchical format. To change the Wet or Dry values.288 CHAPTER 15 View Menu – Multitrack View • Output Device: This drop-down list is used to select the desired output device for the bus. while dragging to the left reduces it. If the Lock button is up but not lit. . Lock Button If the Lock button is in a disabled (“grayed-out”) state. The effect will then appear in the Current Effects List pane. To remove the currently visible preset listing. A Dry Value of 100 means that just the original audio (with no effects) can be heard. press the Delete button. Press the New button to bring up a dialog for naming a new preset. the track is locked. When OK is clicked. • Properties: Pressing this button brings up a tabbed dialog used to adjust the properties of each effect in the Current Effects Rack. • Current Effects Rack: All effects assigned to the bus are listed here.

while dragging to the left reduces it. select the pan field. and drag. You may also directly specify the track’s volume by entering a dB value in the text box above the fader. select the pan field. Move the fader up (or click on the arrow above the fader) to increase the volume. Pan Controls Two types of pan controls for adjusting the balance of each track are included. Config Click on this button to display the configuration window for the selected bus. . so the output of one effect doesn’t change the input of another effect. Pan Controls Two types of pan controls for adjusting the balance of the bus are included. and low equalization frequencies applied to the track. as well as the bus’ desired Dry Out level. To solo multiple tracks.ADOBE AUDITION 289 User Guide Equalization Fields The H. the configuration window’s Mixer pane provides sliders for adjusting the volume of all effects in the bus. while dragging to the left pans the bus to the left channel. To change the H. Track Faders The fader is used to adjust the track’s relative volume in the mix. Press the S (Solo) button to solo the track. To change the pan value for the bus. Dragging to the right increases the value. Use your mouse to switch the ball to three possible positions: hard left. while dragging to the left pans the track to the left channel. Clicking on the Rack Setup button brings up Adobe Audition’s Bus Properties dialog. Dragging to the right pans the track to the right channel. really large monitor. and L values. The control that looks like a small ball is used to quickly pan the bus hard left or hard right. and hard right. and drag. Along with giving you access to the parameters for each effect you’ve added to the bus. hold down your left-mouse button. hold down your left-mouse button. Bus Mixer Tab Here are the major components of the Bus Mixer: Out Pressing this button shows the Bus Properties dialog. and L fields show the amount (amplitude) of high. and drag. zero pan. Portion Bar Unless you have a really. and then mix the effects back together. select the desired field. move it down (or click on the arrow below the fader) for a volume reduction. The other pan control shows the current pan value and provides a more precise way of adjusting pan. you won’t be able to see all of Adobe Audition’s available 128 tracks on screen at once. Push the Serial button if you want the effects on the bus to run in order (one effect and then the next). Dragging to the right pans the bus to the right channel. Click on the Parallel button to feed the track into all the effects separately. hold down the Ctrl key as you click on their S buttons. Mute/Solo Buttons The M (Mute) button turns off the output of the track. The control that looks like a small ball is used to quickly pan the track hard left or hard right. M. and hard right. or return the bus to a centered state. Use the portion bar to scroll from tracks 1 to 128 and any point in between. You can mute as many tracks as you want by clicking on their M buttons. M. The other pan control shows the current pan value and provides a more precise way of adjusting pan. or return the track to a centered state. mid. Use your mouse to switch the ball to three possible positions: hard left. To change the pan value for the track. hold down your left-mouse button. zero pan.

which gives you more control over a track’s equalization than the EQ tab in the Track Controls. hold down the Ctrl key as you click on their S buttons. Here are the major components of the Track EQ window: Track Tabs The first time you click on any track in Adobe Audition’s session window. Move the fader up (or click on the arrow above the fader) to increase the volume. To return to the Track Tabs view. The “X” control to the immediate right of the Max View control closes the active tab. Expand/Collapse Use the Expand and Collapse arrows (which point to either the right or the left) to show or hide the equalization frequency and amplitude faders and their associated text entry boxes. Press the S (Solo) button to solo the bus. Click on a tab (which contains the name of the track) to adjust its associated track’s settings. Track Equalizers window The Track EQ window is dockable. . move it down (or click on the arrow below the fader) for a volume reduction. You may also directly specify the bus’ volume by entering a dB value in the text box above the fader. press the Restore control – the small arrow pointing downward. You can mute as many busses as you want by clicking on their M buttons. as well as the Band buttons. which means you can reposition it at one of several places in the Adobe Audition interface. Max View When you press this control – which looks like a small arrow pointing upward – you switch to Max View.290 CHAPTER 15 View Menu – Multitrack View Mute/Solo Buttons The M (Mute) button turns off the output of the bus. Bus Faders The fader is used to adjust the adjust the bus’ relative volume in the mix. Note: You won’t be able to see the Track tabs if the Max View window display option is selected. To solo multiple buses. a tab is added for that track to the Track EQ window. Or. Show Track EQ Window Activate this item to display Adobe Audition’s Track Equalizers window. All of the tabs disappear and the controls for the selected track expand to fill the Track Equalizers window. you may detach it and have it float above Adobe Audition’s main window.

ADOBE AUDITION 291 User Guide

Graph The graph shows the track’s current equalization curve. The graph’s x-axis (horizontal) ruler measures frequency,

while the y-axis (vertical) ruler represents amplitude. You can drag the three control points (which look like balls) around the graph to adjust the EQ curve. If the Track EQ window is in expanded view, you’ll notice that the two sets of sliders move accordingly when the graph’s control points are manipulated. The left-most control point initially represents the EQ curve’s low frequency, while the middle and right-most control points correspond to the EQ curves’ middle and high frequencies respectively.
Q Values The low, middle and high frequency Q values of the equalization curve are displayed in these boxes. (Q is the

sharpness of the equalization circuit’s peak response.) If a Q box isn’t “grayed out”, you can adjust the Q number by leftclicking on the box and dragging. Dragging to the right increases the Q number, while dragging to the left reduces it.
Band Buttons By default, only the Mid Q in the Track EQ window is active, but by pushing one or both Band buttons,

you can activate the Low Q and/or Hi Q settings. This in effect gives you the control of a parametric equalizer.
Frequency Sliders Use the vertical Lo, Mid, and Hi Frequency Sliders to adjust the EQ curve’s low, middle, and high frequencies respectively. Drag a slider to the right (or click on the arrow on the right of the slider) to increase the slider’s frequency, while moving it to the left (or clicking on the arrow to the left of the slider) reduces the frequency. You may also specify the slider’s frequency by directly entering the desired Hz value in the text box to the right of the frequency slider. Amplitude Sliders The horizontal Lo, Mid, and Hi Amplitude Sliders to are used to increase or attenuate the EQ curve’s low, middle, and high frequencies respectively. Move a slider upwards (or click on the arrow at the top of the slider) to raise the frequency’s amplitude, while bringing it down (or clicking on the arrow to the bottom of the slider) decreases the amplification of the frequency. You may also specify the slider’s amplitude by directly entering the desired dB value in the text box at the bottom of the amplitude slider.

Show Track Properties
Checkmarking this item displays Adobe Audition’s Track Properties dialog, where you can adjust parameters for a selected track’s volume and panning, output and record devices, and more.

292 CHAPTER 15
View Menu – Multitrack View

Track Properties window

The Track Properties window is dockable, which means you can reposition it at one of several places in the Adobe Audition interface. Or, you may detach it and have it float above Adobe Audition’s main window. Here are the major components of the Track Properties window:
Track Tabs The first time you click on any track in Adobe Audition’s session window, a tab is added for that track to the

Track Properties window. Click on a tab (which contains the name of the track) to adjust its associated track’s settings. The “X” control to the immediate right of the Max View control closes the active tab. Note: You won’t be able to see the Track tabs if the Max View window display option is selected.
Max View When you press this control – which looks like a small arrow pointing upward – you switch to Max View. All of the tabs disappear and the controls for the selected track expand to fill the Track Properties window. To return to the Track Tabs view, press the Restore control – the small arrow pointing downward. Volume Slider This vertical slider adjusts the track’s volume, measured in dB. Dragging the slider up (or clicking on the arrow at the top of the slider) increases the track’s volume, while moving it downward (or clicking on the arrow underneath the slider) reduces the volume accordingly. You may also specify the track’s volume by directly entering the desired dB value in the text box above the Volume Slider. Panning Slider This horizontal slider adjusts the track’s pan, measured in percentage. Moving the slider to the left (or

clicking on the arrow at the left of the slider) reduces the volume of the right channel, while dragging it to the right (or clicking on the arrow to the right of the slider) decreases the left channel’s volume. You can also set the track’s panning parameter by directly entering the desired percentage in the text box to the right of the Panning Slider. Negative numbers (such as -100) denote a left pan, while positive numbers (like 100) mean a right pan.
Title The default title of the selected track (such as “Track 3”) appears in this editable field. You may rename the track

by highlighting the text in this field and typing over it. Note that the name of the Track Tab changes accordingly.

ADOBE AUDITION 293 User Guide

Output The item shows where the track will be output to, such as a sound card or bus. If you have more than one output

device in your system, you can select it from the drop-down list.
Record The device (such as a sound card) that this track will record through to is shown here. If your system has more

than one recording device, you can select it from the drop-down list.
Channel Use this drop-down list to decide if you want this track to be Left Only, Right Only, or Stereo. Bit Rate Here’s where you select whether you want the track to be 16-bit or 32-bit. An Adobe Audition session can

contain a mix of 16-bit and 32-bit tracks.
Effects Press the FX button to bring up the Effects Rack for that track. Lock If the track has one or more real-time effects applied to it, this button locks the track Bus If you’ve added this track to a bus, the Wet and Dry percentages are shown here. You can left-click and drag on these boxes to adjust these percentages. EQ The Low (“L”), Mid (“M”), and High (“H”) equalization values of the track are displayed in these three fields. You

can adjust the EQ level of one of these fields by left-clicking on it and dragging. Dragging to the right increases the number, while dragging to the left reduces it. For more equalization control, go to View > Track EQ.
Record This button arms the track for recording. Press this master record button in the Transport Buttons to actually

start recording.
Solo This button solos the track so that only it will be heard on playback. All other tracks are muted.

Note: Despite its singular name, more than one track may be soloed. To do this, hold down the Ctrl key while clicking on the solo buttons of all tracks you wish to put into solo mode.
Mute The Mute button silences the output of this track. More than one track in an Adobe Audition session can be muted at one time.

Show Organizer Window
This command lets you see Adobe Audition’s Organizer window. This handy, tabbed window allows you to easily open and close files, choose effects (including dragging real-time effects directly to tracks), and more. Note: The Organizer window is fully documented in the “Looking at the Work Area” chapter.

Show Cue List
The command opens the Cue List window, which is a dockable window. A cue list is a list of time offsets, or locations defined within an audio file. A cue can be either a point that specifies a cursor position, or a range that specifies a selection. You may define and save an unlimited number of cues in the Cue List for later recall, or for assembling in Adobe Audition’s Play List. Note: The Cue List is fully documented in the “View Menu – Edit View” chapter.

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Show Transport Buttons
Check this item to display Adobe Audition’s Transport Buttons, which are used to shuttle the active waveform or session. Note: More information on the Transport Buttons can be found in the “Looking at the Work Area” chapter.

Show Zoom Buttons
Select this item to display Adobe Audition’s Zoom Buttons. The Zoom Buttons window is a dockable window, allowing you to reposition it at one of several places in the Adobe Audition interface. Note: More information on the Zoom Buttons can be found in the “Looking at the Work Area” chapter.

Show Time Window
Check this item to show Adobe Audition’s Time window. This window displays the current position of the playback cursor. The default display value is mm:ss:ddd (minutes:seconds:thousandths of a second), but this can easily be changed by right-clicking on the Time window and choosing another option, such as Compact Disc, Samples, Bars and Beats, or one of several SMPTE values. Note: More information on the Time window can be found in the “Looking at the Work Area” chapter.

Show Sel/View Controls
When checked, the Sel/View Controls window is displayed. (“Sel” is an abbreviation for Selection.) It shows the beginning and ending points, as well as the total length of both the selection and the section of the session that’s currently viewed. Both the selection and display range is shown using the current time display format. Note: More information on the Sel/View Controls can be found in the “Looking at the Work Area” chapter.

Show Level Meters
Click on this option to display Adobe Audition’s Level Meters, which appear near the bottom of both Adobe Audition’s Edit View and Multitrack View windows. These meters display both record and playback levels. Note: More information on the Level Meters can be found in the “Looking at the Work Area” chapter.

Show Load Meter
This option displays Adobe Audition’s Load Meter, which runs in a dockable window. The Load Meter shows you how much CPU time is available, which is especially handy if you regularly use real-time effects. When the meter fills up, Adobe Audition has no more available computing power and your system will act erratically.

ADOBE AUDITION 295 User Guide

Show Video Window
If this option is checked, a window used to view video data that’s inserted in Adobe Audition’s Multitrack View is displayed. It initially appears in the upper left-hand corner of your desktop, and can be resized to fit your frame size. Plus, since the Video window is dockable, you can reposition it at one of several places in the Adobe Audition interface.

Show a Placekeeper
Select Show a Placekeeper to create a blank, dockable window called a “placekeeper”. Use it to more accurately define where you want a dockable window to be, especially for windows that are only useful when viewed in a certain aspect ratio. Note: More information on Placekeepers can be found in the “Looking at the Work Area” chapter.

Display Time Format
The Display Time Format menu lets you choose between several time display readouts, including Decimal, Compact Disc, different versions of SMPTE, Samples, Bars and Beats, and Custom time code frame rates. Adobe Audition will then use the format chosen here when referencing time: the Time window, the x-axis (time) ruler, time status boxes, Status Bar, etc. Note: More information on the Display Time Format menu can be found in the “View Menu – Edit View” chapter.

Toolbars
Use this menu to specify to specify which, if any, groups of icons you’d like to display on Adobe Audition’s Multitrack View toolbar. Checkmark the desired icon group(s) to display. If no items are checked, the toolbar area will disappear until you check at least one icon group. Options are also provided to limit how many rows of toolbar icons Adobe Audition displays at any one time: one row, two rows, or three rows.

Status Bar
Access the items on the Status Bar submenu to turn on Adobe Audition’s status bar – which runs along the bottom of the Adobe Audition window – as well as decide which information fields you wish displayed in the status bar. You can also find this menu by right-clicking on the status bar. To hide the Status Bar, right-click on it and select the Hide menu option. Or, uncheck Show from the Status Bar submenu item on the View menu. Note: More information on the Status Bar can be found in the “Looking at the Work Area” chapter.

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Advanced Session Properties
This command brings up the Advanced Session Properties window, a tabbed dialog that lets you adjust several parameters of your multitrack session, as well as store additional session-based information within your session file.

General Tab

The General tab of the Advanced Session Properties window Session Start Time Offset Here you can enter a time offset, which is the time location that Adobe Audition will wait for

to begin playback. Locations must be entered in the format of hours:minutes:seconds:frames.divisions, or hours:minutes:seconds.division if not being used with SMPTE.
Key for Voiced Loops This specifies the session’s key. Any loops that have a key specified will be pitch-shifted to match

the session’s key.

Mixing Tab

The Mixing tab of the Advanced Session Properties window Pre-Mixing This is the bit depth used for the background mixing process. Best quality is achieved by choosing the 32-bit setting, especially for single output device situations or if you have a fast hard drive.

However, if you’re using multiple sound cards, it may be advantageous to pick 16-bit for pre-mixing, as less data will be transferred across the hard drive(s), which will speed things up.

ADOBE AUDITION 297 User Guide

Note: Even if you do 16-bit pre-mixing, no data is lost, and a final mixdown can still be 32-bit.
Panning This section sets the method used for panning waveforms in a multitrack session. • L/R Cut Logarithmic: If this option is chosen, left-panning is achieved by reducing the volume of the right channel,

and right-panning is performed by reducing the left channel volume. The channel being panned to doesn’t increase in volume as panning gets closer to 100%.
• Equal-power Sinusoidal: Choose this option to pan left and right channels with equal power, so a hard pan left will

contain the same loudness as both channels together. This results in an increase of 3dB RMS on the channel being panned to when at 100%. Note: Because panning can actually make one channel louder than the original waveform, audible clipping can occur in 16bit sessions. To avoid this, work in the 32-bit realm if you’re using the Equal-power Sinusoidal panning method.
Set As Default If you’ve changed the Pre-mixing and/or Panning settings, press this button to have Adobe Audition remember them as the default settings.

Note: Adobe Audition’s default settings for Multitrack View are under the Multitrack tab of Options > Settings.

Tempo Tab

The Tempo tab of the Advanced Session Properties window Tempo The tempo of the session is specified here. Any loops that have a tempo specified will be time-stretched to match

the session’s tempo. The time-stretch method used is determined by the individual loop’s settings. If you need more detailed tempo settings, right-click on the horizontal ruler in Adobe Audition’s Session Display.
• Beats/minute: Enter the number of beats-per-minute here. • Beats/bar: Input the desired number of beats-per-bar in this field. • Ticks/beat: This field is where you can specify the amount of ticks-per-beat. Offset Choose from the following:

Metronome Tab The Metronome tab of the Advanced Session Properties window Enable Metronome Keeping perfect time is a cinch with Adobe Audition’s built in Metronome. Signature Select the appropriate time signature using this drop-down list. including negative time. You can also enter a new cursor position here and Adobe Audition will recalibrate the session. of course. Any point can be at any time. so that you know the metronome beat will be in the right place. This is so you can line up your metronome with a song that’s already been created and you're adding more to. Volume Enter the desired volume of the metronome sounds in this text box.298 CHAPTER 15 View Menu – Multitrack View • Cursor At: This shows the current position of the cursor in bars-and-beats format.) Uncheck the box to be Metronome-free Sound Set Use this drop-down list to select from different types of metronome sounds. Custom time signatures may be added using the Custom… button. The default is -6dB. while a lower number (like -10dB) decreases the metronome volume. • Reset 1:1 to Cursor: Press this button to set the cursor to the first beat of the first measure. Custom Press this button to bring up the Customize Metronome Time Signature dialog. you’re using a microphone and your computer’s speakers are on. Check the Enable Metronome box to hear the “ticks” of the metronome whenever you play or record something in Adobe Audition’s Multitrack view. A higher number (such as -3dB) makes the metronome sounds louder. • Song Start: The exact position (stated in milliseconds) of the beginning of the song is shown here. The current signature pattern is displayed in the non-editable Pattern field. . (The metronome sound effects won’t be recorded – unless.

and notes about settings. Press the Add button to place your new custom time signature to the Metronome’s Signature list. For instance. Pattern The current metronome pattern is shown in this non-editable text box. a 2 for a secondary beat. • Beats/Bar: The number of beats per bar goes in this text box. Use a 0 for no beat. who played what instrument. Spaces between the numbers are optional. the names of the musicians. . and 3 for a regular beat.ADOBE AUDITION 299 User Guide The Custom Metronome Time Signature dialog • Name: Enter the name of the new time signature in this field. Notes Tab The Notes tab of the Advanced Session Properties window You can enter any freeform text about the session here. a 1 for a down beat. • Pattern: Here’s where you specify the pattern of the time signature.

300 CHAPTER 15 View Menu – Multitrack View .

Note: Multitrack Edits done with real-time effects don’t go into the Undo list. a Take History is preserved for the selected waveform in the event that it’s recorded over. and copying. Allow Multiple Takes (Wave Block Only) If a single wave block is highlighted. Loop Properties (Wave Block Only) If a single wave block is highlighted.301 Chapter 16: Edit Menu – Multitrack View T he Edit Menu contains the options for editing waveform blocks in Adobe Audition’s Multitrack View. Instead. With Allow Multiple Takes disabled. . such as moving. this command will appear on the Multitrack View’s Edit menu. a new instance. and therefore don’t create temporary files on disk. Access this command to bring up Adobe Audition’s Wave Block Looping dialog so that you can adjust the wave block’s loop properties. splicing. there isn’t an Enable Undo function governing the ability to undo actions in Multitrack. Access the command to send the wave block to Adobe Audition’s Edit View for modification. this command will appear on the Multitrack View’s Edit menu. Unlike Undo in the Edit View. Edit Waveform (Wave Block Only) If a single wave block is highlighted. Edits done in the multitrack environment are non-destructive. this command will appear on the Multitrack View’s Edit menu. preserving the previous waveform. Note: The Punch In function will automatically enable Allow Multiple Takes for the selected Punch area. they’re totally reversible by simply removing the effect from the track’s rack. Material is not overwritten when recording into an existing waveform block. More information about the Loop Properties dialog can be found in the “Navigating the Multitrack View Screen” chapter. of the block is created and recorded into. When you enable this option by clicking on its menu command (causing a check mark to appear next to its name). or “take”. recording is done into the same spot each time. In the multitrack environment. However. Undo allows you to back up through previous edits. this includes anything you might do in the way of editing or arranging waveform blocks. Undo As in Adobe Audition’s Edit View.

or “take”. Moving the slider to the left (or clicking on the arrow at the left of the slider) reduces the volume of the right channel. and in the case of a Punch In. Delete This Take This removes the selected take. You can also set the wave block’s panning parameter by directly entering the desired percentage in the text box to the right of the Panning Slider. . Click it to display a horizontal slider used to adjust the wave block’s left/right volume balance. Click it to display a vertical slider used to adjust the wave block’s volume. You may also specify the wave block’s volume by directly entering the desired dB value in the text box above the Volume Slider. while moving it downward (or clicking on the arrow underneath the slider) reduces the volume accordingly. of the block is created and recorded into. delete them. this command will appear on the Multitrack View’s Edit menu. Adjust Wave Pan (Wave Block Only) If a single wave block is highlighted. allowing you to move between them. Take History is simply a list of each of these instances. preserving the previous waveform. Punch In takes are automatically deleted when Merge Current Take is selected. Negative numbers (such as -100) denote a left pan. merge them back into the surrounding material they once belonged to. Merge This Take Choose this command to merge a take completed with Punch In back into the surrounding material. instead a new instance. Adjust Wave Volume (Wave Block Only) If a single wave block is highlighted. while positive numbers (such as 100) mean a right pan.302 CHAPTER 16 Edit Menu – Multitrack View Take History (Wave Block Only) If a single wave block is highlighted. Take List This is a list of takes available as alternates for the selected waveform block. which is measured in dB. With multiple takes. Dragging the slider up (or clicking on the arrow at the top of the slider) increases the wave block’s volume. Note: Each take exists as an actual waveform on your hard disk. and will take up drive space until deleted. The Take History function is available for any track that has the Allow Multiple Takes command enabled. this command will appear on the Multitrack View’s Edit menu. material is not overwritten when recording into an existing waveform block. deleting it from your hard drive. this command will appear on the Multitrack View’s Edit menu. while dragging it to the right (or clicking on the arrow to the right of the slider) decreases the left channel’s volume.

and 220 is fuchsia. 185 is violet. 205 is purple. Use the slider or enter the hue value directly in the field provided. and more. Track volume is set in the Track Info dialog. Wave Block Properties dialog Volume Adjust the Volume slider or enter a decibel value in the box above to set an overall volume level for the waveform block. . 140 is blue. 120 is aqua. which Adobe Audition will use to identify the waveform in Multitrack View. You can enter a value directly to move the block to a specific time location. Pan Adjust the Pan slider or enter a pan amount (-100 is hard left. or beginning time. 42 is yellow. panning. 25 is brown. Note: This volume setting is independent of the track’s overall volume. It brings up the Wave Block Properties dialog.wav” could be renamed to the friendlier-looking “Lorna’s Scratch Vocal”. Time Offset This box displays the offset. 0 is red. “lornascratchvocal.ADOBE AUDITION 303 User Guide Wave Block Properties (Wave Block Only) If a single wave block is highlighted. volume.) The waveform’s true filename isn’t changed. Hue This sets the color of the waveform block. which displays information on the selected waveform block. The time format used is that which is currently selected in View > Display Time Format. for the waveform block. such as position. and is shown along with its path in the non-editable space below. Roughly. Track pan is set in the Track Info dialog. this command will appear on the Multitrack View’s Edit menu. 100 is hard right) in the box to the right to set a pan level for the waveform block. You can change this name to whatever you want. You can use this dialog to change waveform block properties. (For instance. Filename/Path The waveform’s filename is displayed in an editable text box. 90 is green. Any value of 0 to 255 is valid. Note: This pan setting is independent of the track’s overall pan.

If you select Zoom Out. A locked-for-play-only waveform won’t become red when position in a record-enabled track. this command appears on the Edit menu. uncheck this box. this command appears on the Edit menu. Its submenu lists all of the tracks in the MIDI block. which gives you lots of extra space in the block. Lock in Time If this box is checked. A MIDI note can be assigned to 127 note values. and don’t want to accidentally move the waveform when right-clicking on it. Note: Locked waveforms are identified by an overlaid graphic that looks like a padlock in a circle. the selected waveform block. Checkmark a track and Adobe Audition will playback only that track when the MIDI block is played. The wave block will become gray in color. Remove this check to unmute. More information about the Set Tempo dialog can be found in the “Navigating the Multitrack View Screen” chapter. Locking a waveform is useful when you’ve decided upon its position in time. or disable. uncheck the Lock in Time box and it will be freed for horizontal movement. If you want to hear all of the MIDI block’s tracks. it may be vertically repositioned. Track Mute is sent in the Track Info dialog. indicating that it won’t play until unmuted. It displays the Adjust MIDI Tempo box. Transpose (MIDI Block Only) If a single MIDI block is highlighted. all the values are displayed on scale with the 127 note values. where you can make changes to the tempo of the MIDI block using the Tempo field provided. allowing you to move it between tracks. Adobe Audition figures out which is the highest note in a MIDI block and which is the lowest and zooms in the note display in the block so that the highest note is at the top and the lowest is at the bottom. this command appears on the Edit menu. Zoom in/Zoom out (MIDI Block Only) If a single MIDI block is highlighted. Lock for Play Only Checking this box will set put the waveform block into “safe mode” so that it won’t be recorded into. Use Transpose and its submenu options to change the key of a MIDI block up or down by up to seven steps. Note: This Mute setting is independent of the track’s overall mute state. this command appears on the Edit menu. the waveform block is locked to its current time location in the multitrack session. To re-enable recording for the waveform block. or to Edit > Lock for Play Only and remove its checkmark by clicking on it. or by pressing the green “M” button in the track’s console area. Active Track (MIDI Block Only) If a single MIDI block is highlighted. While a waveform which has been locked can’t be moved in time (left or right). By default. checkmark the All item. Set Tempo (MIDI Block Only) If a single MIDI block is highlighted. To unlock a waveform.304 CHAPTER 16 Edit Menu – Multitrack View Mute Check this box to mute. .

this command appears on the Edit menu. which will be placed in the Edit View.ADOBE AUDITION 305 User Guide Set Controller 7 (MIDI Block Only) If a single MIDI block is highlighted. and envelopes are all reflected in the mixed waveform. The controller 7 value for a MIDI file is the master volume setting. This value gets sent out each time a MIDI file is played and tells the MIDI playback device what volume to play this file at. Selected Waves Choose this option to mix all highlighted waveforms in the session and put the resulting stereo waveform in the Edit View. with track and waveform properties (such as volume and pan) affecting the way the final mix sounds. Insert a submix back into your session using the File/Cue List in the Multitrack View’s Insert menu. and envelopes are all reflected in the mixed waveform. . images. Session elements such as looping. Mix Down to Empty Track N (Bounce) This command creates a two-track stereo or mono mix of all or selected tracks and places the resulting waveform into the next empty track in your session. images. which will be opened in the Edit View. The contents of all or selected enabled (unmuted) tracks are combined. Mix Down to File This function creates a two-track stereo mix (unless a mono option is selected) of all or selected tracks and places the resulting waveform into Adobe Audition’s Edit View. Use the Mix Down to Empty Track N (Bounce) function to “bounce down” multiple tracks to a single track to speed up background mixing and clear up your work area. with track and waveform properties (such as volume and pan) affecting the way the final mix sounds. The original tracks that were submixed can then be muted or removed from the session. Session elements such as looping. All Waves Selecting this option will mix all unmuted waveforms in the session and place the resulting stereo waveform in the Edit View. This option just lets you change the controller 7 value directly in case you have a MIDI file whose controller 7 value is too low or high. Selected Waves Choose this option to mix all highlighted waveforms in the session and put the resulting stereo waveform into the selected track. All Waves (Mono) Selecting this option will mix all unmuted waveforms in the session to a mono waveform. Selected Waves (Mono) Choose this option to mix all highlighted waveforms in the session to a mono waveform. The contents of all or selected enabled (unmuted) tracks are combined. All Waves Selecting this option will mix all unmuted waveforms in the session and place the resulting stereo waveform into the selected track.

or from the right-click menu. select the members of the group by holding your Ctrl key down and left-clicking each desired block. To select the color to use for a particular block group. which allows you to change the color of the current block. click on any member of that group to select it. . Adobe Audition allows for multiple takes when Punching In. you can continually record over the original material and afterward choose between the best performance. Replacing this segment usually entails starting and stopping record at exact moments in order to retain the surrounding audio. For example. or return to the original data. which will be opened into the selected track. This function is documented in the “Navigating the Multitrack View Screen” chapter. as well as a special circular symbol overlaid each block. Block Color This command invokes Adobe Audition’s Block Color dialog. right-click on any member of the group and choose Group Color. while material in-between these points is replaced with (hopefully) a better take. Selected Waves (Mono) Choose this option to mix all highlighted waveforms in the session to a mono waveform.306 CHAPTER 16 Edit Menu – Multitrack View All Waves (Mono) Selecting this option will mix all unmuted waveforms in the session to a mono waveform. This will remove the checkmark from the menu item. which will be placed into the selected track. • To group blocks together. Group Color This command invokes Adobe Audition’s Group Color dialog. which allows you to change the color of the current group of blocks. This function is documented in the “Navigating the Multitrack View Screen” chapter. Punch In Punch In is a recording technique used to replace a section (perhaps a mistake of some kind) in an existing track segment. choose Group Blocks from the Edit menu. Grouped blocks are designated by a different color than ungrouped blocks. Grouping can help with organizing the many blocks in your session. and again choose Group Blocks from the Edit menu. Other wave operations such as Mute or Lock in Time will also affect all blocks in a group. Grouped blocks will move together when selected and repositioned. or from the right-click menu. you can have all of your guitar elements grouped together to easily identify and move them. Then. Group Blocks This option will group any selected blocks together. • To ungroup blocks. Punch In will work on one or more waveforms at a time.

If possible.) After establishing a highlighted area.) Note: The Crossfade toolbar button uses Linear fades by default. Logarithmic will fade the amplitude of a signal at a constant rate. The fade curves created with Crossfade can be modified by enabling the Show Volume Envelopes and Enable Envelope Editing options in the View menu. in a back-to-back manner). For an exact selection. and Snapping functions to make your selection. Choose the Crossfade command from the Edit menu or rightclick menu to specify a different crossfade type. if Edit > Snapping > Snap to Blocks is enabled. producing a steeper slope at one end of the fade. you can switch back to Adobe Audition’s Edit View and use the Find Beats. The session will begin playback. you can monitor the different takes by right- clicking on the waveform block and choosing them from the Take History menu option. This will make it easier to achieve a natural sound. depending on whether you are fading in or out. as if it were all one take. and then switch back to Multitrack View. it’s best to choose sections of the waveform where there are gaps in the audio for your Punch points. the highlight will easily adjust itself to the beginnings and endings of the waveforms. sine-like slope to the fade. . and should start a bit before the beginning of the waveform(s) to fade to. Next. adjacent if possible. will record into the selected area. This will enable the selection for record and put the track into record mode. choose Edit > Crossfade (or Crossfade from the right-click menu) and the type of crossfade you want to do to crossfade between the selected waveforms. They do so by creating a fade out and a fade in over the transition region. (You can also adjust the highlight by holding the Shift key down when doing a left-click near the edge of the selection. and Sinusoidal for a curved. Zero Crossings. Waveforms to crossfade between should be positioned in different tracks (or can be in the same track. When finished. (Both Logarithmic In and Logarithmic Out options are at your disposal. Three major types of crossfades are available. Crossfade Crossfades are used to create smooth transitions from the end of one audio segment to the beginning of another. To crossfade. • After recording. Or. you need to select the waveforms to include in the crossfade by holding down the Ctrl key and left-clicking on the desired wave blocks. The highlight should extend a bit beyond the end of the waveform(s) to fade from. and upon hitting the Punch point. • You can position the playback cursor sometime before the Punch In location and press the Record button.ADOBE AUDITION 307 User Guide To use Punch In: • Highlight the area of the waveform block (or blocks) you would like to Punch into. or from the menu that appears when you right-click on the waveform block. make a selection with your mouse and include in it the beginning and ending sections of any waveforms you wish to include in the crossfade. you can take another pass at the Punch. Use the desired Merge Take command on the right-click menu when you’ve decided among them. • Choose Punch In from the Edit menu. Choose Linear for an even grade.

. choose Edit > Insert in Multitrack and switch back to the to the Multitrack View. This value defaults to the length of the selected waveform block. Using these functions you can make a selection (highlight) that starts and ends on zero crossings. Loop Duplicate dialog Note: For waveform blocks. while a lesser value will cause them to overlap. in effect. and Zero Crossings. Setting the Display Time Format to Bars and Beats makes it easy to place a waveform (such as a drum hit) at every other beat in your song. you can place the instance throughout the entire song and only consume the drive space of the original occurrence. a loop of the waveform. enter the number of times you’d like to duplicate the waveform block. a more efficient and flexible method of looping is to adjust the block’s Loop Properties. Find your loop points in Adobe Audition’s Edit View with Find Beats.308 CHAPTER 16 Edit Menu – Multitrack View Loop Duplicate Loop Duplicate will create a specified number of consecutive Images of the selected waveform block creating. The entry box to the right will display the spacing in the current Display Time Format. To create interesting time delay effects using the Loop Duplicate function: 1 Start by placing the source waveform into the Multitrack View. or if you wish them to be even spaced by a certain amount. Decide if you want no gaps between each duplicated wave form block. Entering a greater value will put space between each waveform block. You can now select the loop’s waveform block and choose Loop Duplicate to create your loop. Because each instance (other than the original) is an Image. for a continuous loop. After doing so. • No gaps – continuous looping: This option places each subsequent duplicate directly after the preceding block. Spacing This determines the spacing at which to place each duplicated waveform block. for example. which has the effect of functioning identically to the No gaps – continuous spacing option until changed. Snapping. which make musical sense. You’ll find this command on the menu that appears when you right-click on the wave block Repetitions In this field. • Evenly Spaced: Choose this option if you would like to define a spacing to place between each block.

From there.). hold down the Shift key and right-click on the waveform and drag it to make an Image. you can add a Flanger effect to one instance. and all 30 instances. or close to 100% wet. (The original waveform that you copied will provide the dry element. small amounts to create phase shifts (small time offset). larger amounts to create delays (15-50 ms offsets) or echoes (50 ms or greater offsets). Try reducing the volume levels slightly for each Image. to soften the echoes (also. add any processing or effect you like to it. placing the delayed Images at every beat. For effects that have wet/dry balancing. To add multiple effects to an existing waveform non-destructively in Multitrack View: 1 Create a copy of the waveform using Edit > Convert to Unique Copy. Repeat this operation for other effects to have separate control over a number of effects (one for Flange. while the same sound placed in your verse can be dry). identical to the original in size and disk space consumption. for example would be flanged. Images have the advantage of not consuming any disk space. for example. or by saving the file under a new name using Save As… in the Edit View. (With Images.). shifting each Image slightly more to the right. you can use File > Save As… to create a copy of the file that can be transformed using any Effect function. . Creating a unique copy of a waveform block has the advantage of allowing for separate editing of each occurrence of the waveform (you can add reverb to the one placed in your intro.) 3 Insert the processed copy into the multitrack environment. The Image should be placed onto a new track (such as below the existing track) 3 Next. You can even create in tempo delays by changing the Display Time Format to Bars and Beats and use the Snapping function to Snap To Ruler locations. To quickly add an effect to a waveform block within the Multitrack View. and depending on the situation. it may be an advantage to be able to affect all occurrences of a waveform block by editing the original once. or pan right and left. This way it will simultaneously playback both original file and the effected one. etc. double-click on it (which will open up the waveform in the Edit View window). 4 Repeat this any number of times. 4 You can then vary the effected waveform’s (and the original’s) volume and pan envelopes to bring the wet/dry in and out. Copying a waveform block in the multitrack environment (as opposed to creating an Image) will create a separate audio file on disk. The newly processed file can then be placed into the multitrack environment. shift the Image in time. set them to 100%. You can also create both Pan and Volume envelopes for each Image for truly dynamic delay effects that change over time. The great thing is this is all completely non-destructive! Convert to Unique Copy This command creates a copy of the selected waveform block. to the right of the original. in a different track. the combined waveforms will increase the track’s overall level in the mix and could cause clipping).ADOBE AUDITION 309 User Guide 2 Once entered. 2 Once a copy of the original file has been made. one for Reverb. so the result is primarily effect. placing it into an adjacent to the original.

and are displayed as “grayed-out”. This is signified by the block not turning red when the track is record-enabled. provided that the split segment sits at the same relative location as where it was split from. For example. To unlock a block. the file is rewritten with the new material. it “cuts” the block. Lock for Play Only disables the ability of a block to be recorded into. or slid in time independently of the other segments. Locking a block is useful when you’ve decided upon its position in time. Locked blocks are identified by an overlaid graphic of a circled padlock. While a block which has been locked can’t be moved in time (left or right). Split The Split command functions similarly to a traditional tape splice. and don’t want to accidentally move the block when right-clicking on it. This command is separate from Track Muting (pressing the Mute button in the Track Console area) which disables all blocks within a track. segmenting it into parts. it may be vertically repositioned. or selection (in this case the selection will be spliced out). Lock for Play Only This command marks the selected block(s) as play only. Muted blocks are ignored during playback and mixdowns. Splitting a block is non-destructive. The boundaries of the segments are joined together using a 30 millisecond crossfade. . allowing you to move it between tracks. when rejoining a Punch In segment. Lock in Time Lock In Time “locks” selected blocks to their current time location in the multitrack session. so while the track it resides in may be record enabled (have the red “R” button on the Track Console depressed). each segment can be moved. simply select it and choose Lock in Time to free it for horizontal movement. The cut is performed at the current cursor point. the marked block will not be recorded over. as it does not alter the original file on disk. deleted. Note: This merge operation is destructive in that it does alter your sound file. Once a block has been split.310 CHAPTER 16 Edit Menu – Multitrack View Mute Blocks This command mutes or unmutes the selected block(s). The Merge/Rejoin Split command can also be used to rejoin a take created using Punch In to the rest of the waveform. and in the same track as the original segment(s). Merge/Rejoin Split Merge/Rejoin Split will recombine a split segment of a block with the original surrounding material.

Trim differs from Adjust Boundaries in that Trim won’t reveal any material within a highlighted region. leaving just the third second. For example. and again choose Adjust Boundaries to bring back that little bit to the right. for instance. Align Right Click the Align Right command (which is only visible when two or more blocks are highlighted) to make the right-hand edges of all highlighted blocks the same as the right-hand edge of the last block you highlighted. double-clicked to highlight the displayed area. Trim This Trim command works in the same fashion as Trim in the Edit View. Note: To fine tune your adjustments in the preceding example. this version does not remove any data from the actual sound file. highlighting the third second and choosing Adjust Boundaries will trim off the surrounding material (the first two seconds and the last two seconds). you can highlight the middle second plus a little to the right. with a five-second wave block. You may return any trimmed block to its original state at any time by selecting it and choosing Edit > Full. Adjust Boundaries This function will adjust the boundaries of the selected block either inwardly or outwardly. All material will be removed from the selected waveform block except the portion within the highlight. any material in the waveform block that lies within this highlight will be retained or exposed. . Trim will only remove that which is outside of the highlight for the selected waveform block. then zoomed out to adjust the highlight boundaries to your satisfaction. Note: Unlike the Trim command in Adobe Audition’s Edit View. After highlighting to define an area to adjust to. Trimming in Multitrack View simply tells Adobe Audition to “disregard this material” when playing back. you could also have double-clicked on the trimmed block to bring up the Edit View. switch back to Multitrack View (the highlight will be retained) and choose Adjust Boundaries to have the waveform block readjust to match your highlight. If you decide you’ve trimmed off too much. You may also trim an area using the Adjust Boundaries command. Use Trim to remove unwanted material around a selection. thereby lengthening the wave block.ADOBE AUDITION 311 User Guide Align Left The Align Left command (which is only accessible if two or more blocks are highlighted) to make the left-hand edges of all highlighted blocks the same as the left-hand edge of the last highlighted block. removing that which is outside of the highlight (or including material inside the selection that is not currently revealed). When finished.

. Selected blocks appear brighter in color than their non-selected counterparts. If you’re using the default Adobe Audition color scheme. They’re also available to the session via Insert > Existing File/Cue until the audio files are closed from the File menu. and close the files. You may return any Cut block to its original state at any time by selecting it and choosing Edit > Full. Note: Selecting Full for a block when its segments have been moved will return any missing material at that location. highlighting the third second. Remove Blocks This command removes any selected (highlighted) blocks from a multitrack session. use Edit > Trim instead. If you’re using the default Adobe Audition color scheme. Any material removed using Trim or Cut (while in Multitrack View) will be replaced. this Cut command does not remove any data from the actual sound file. leaving the two-second portions on either side. Note: Unlike Cut in the Edit Waveform View. For example. If you want to remove unwanted material around a highlighted region. and choosing Cut will remove the third second. so this may result in having more than one instance of the same block portion throughout a session. Using Cut in Multitrack View simply tells Adobe Audition to “disregard this material” when playing back. Destroy Blocks (remove & close) This will remove the selected block(s) from the multitrack session. record-enabled blocks (red) will become bright red when selected. Full This option returns any selected block to its original state. and places nothing on the clipboard. record-enabled blocks (red) will become bright red when selected. selecting it. if track 3 contains a wave block that is five seconds in length. Select All Blocks This command selects all blocks within the current session. Selected blocks appear brighter in color than their nonselected counterparts. Select All Blocks in Track N This command selects all blocks in the currently selected track (the last one you clicked on. while regular unmuted blocks (green) will become bright green when selected. Removed waveforms will still be available in Adobe Audition’s Edit View.312 CHAPTER 16 Edit Menu – Multitrack View Cut Cut will remove the highlighted portion of a selected block. while regular unmuted blocks (green) will become bright green when selected. most of the time).

with seconds showing as the division at your current zoom level (1. 2. Snapping is used to align perfectly with time ruler locations when highlighting a region. and the specified amount of silence inserted. Six snapping options are available from the pullout menu. then dragging a block which starts at 1.ADOBE AUDITION 313 User Guide Insert/Delete Time Use Insert/Delete Time to introduce an amount of silence into the session at the cursor location. if you wish. The Snap to locations (which vary depending on the Snapping option you have selected) act as magnets for any blocks dragged in their proximity.0 in this case.0 location as it nears it.0. Delete Selected Time If this option is chosen. keep dragging beyond 2. if your Time Ruler’s format is hours:minutes:seconds. Adobe Audition can apply limiting to prevent clipping. Insert/Delete Time dialog Insert This option will shift all material (blocks or parts of blocks) to the right of the cursor position to a location after the time amount specified in the editable text field. or to cut the selected area out of the session.6 seconds to the right will result in it snapping to the 2. For example. (When you normalize a waveform. Note: Complete documentation on the Group Waveform Normalize function can be found in the “Edit Menu – Edit View” chapter. and up to five of them may be checkmarked at one time.). of course. the loudest part of the waveform is set to a specified amplitude. Blocks will be split if necessary. [Snap to Ruler (Fine) and Snap to Ruler (Coarse) can’t both be checked simultaneously. etc. and have the effect of pulling the waveform toward them.] . Snapping Enable this function to have the edges of any block “snap” to certain time locations when being dragged. Group Waveform Normalize Group Waveform Normalize allows you to normalize the volume of multiple open waveforms using a three-screen batch process.) If the volume is raised as part of the normalization process. the highlighted area will be removed.0. with all blocks to the right of the selected region shifted to the left. thereby raising or lowering all other parts of the same waveform by the same amount. You can.

314 CHAPTER 16 Edit Menu – Multitrack View Snap to Cues With this option checked. allowing you to Snap To with more precision. Bars and Beats. Snap to Ruler (Fine) Check this option to have the selection or block snap to each subdivision in the current time display format (SMPTE. Use this option if you don’t want too much sensitivity in Snapping. blocks used as loops will snap to the beginning or ending points of other loops. etc. Snap to Loop Endpoints If you select this option. This option is especially handy for working on audio for CD. Zooming in will create further subdivisions to snap to. . a white line will appear over the length of the tracks when Snapping points meet. allowing you to Snap To with more precision. Refresh Now Choosing Refresh Now instructs Adobe Audition to initiate the background mix from scratch. if Snap to Blocks is selected. The beginning and ending points of blocks become the “magnets”. Snap to Blocks This option snaps blocks to the beginning or ending points of other blocks. This will rebuild your session’s output. Use this option for more sensitivity in Snapping.) along the horizontal time ruler. The beginning and ending points of the loops act as “magnets”. If you do.) along the horizontal time ruler. Bars and Beats. etc. Note: While dragging a block in Multitrack View. Snap to Frames (Always) When Snap to Frames (Always) is chosen. the selection will snap to any time locations currently listed in the Cue List. the smaller blocks appear on top of the larger ones. Zooming in will create further subdivisions to snap to. For instance. the selection or your cursor is always right on a frame boundary in whatever time format you’re in – as long as the time format selected is measured in frames (such as Compact Disc and SMPTE). Check For Hidden Blocks Run this command to see if you have any blocks completely hidden by other blocks in your session. Adobe Audition displays Cue markers in the Multitrack View as red and blue dotted lines. the white line will signal snapping as you drag a waveform block pass the beginning or end of other waveforms. Snap to Ruler (Coarse) Select this option to have the selection or block snap to each subdivision in the current time display format (SMPTE.

video files. Note: Just one video file may be open in Adobe Audition at a time. Multiple waveforms are placed at the insertion point. and audio from video files into Adobe Audition’s Multitrack View. Wave from File This command activates Adobe Audition’s Open a Waveform dialog. Once you press the dialog’s Open button. You can open several wave files at once by selecting them with the Shift key pressed (for contiguous selection) or Ctrl key pressed (for non-contiguous selection). the soundtrack wave block is considered to be a newly created audio file since it was extracted from the video. while the audio from the video is placed in the track below. If you try to insert another one. If you want to actually see the video’s visual data. but you’re welcome to re-run this command as many times as desired to place multiple MIDI files in a session. It allows you to choose one or more supported wave files to be placed at the insertion point in the Session Display.mid or . . the video block and its soundtrack are completely independent entities in the session. MIDI files. you’ll be prompted to close the currently open video file. Note: Only one MIDI file may be inserted at a time. Note: Keep in mind that once your video file is inserted. make sure Adobe Audition’s Video Window is open (View > Show Video Window). and will be treated as such. Video from File This command brings up the Choose a movie file dialog (which strongly resembles a typical Windows Open dialog) so that you can pick one video file for insertion into Adobe Audition’s session window.rmi extension). MIDI from File Use this command to initiate the Choose a MIDI file dialog (which is very similar to a standard Windows Open dialog) which can be used to pick a MIDI file (files with a . Also. Both active files (those already opened in Edit View) and inactive (not already opened) files may be easily inserted. Note: More information on the Open a Waveform dialog can be found in the File Menu – Edit View dialog. Moving or changing one will have no direct effect on the other. A filmstrip graphic that represents the video appears on one track.315 Chapter 17: Insert Menu – Multitrack View U se the Insert Menu to import wave files. the MIDI file is placed at the Session Display’s insertion point. each on its own track.

(This dialog is virtually identical to a normal Windows Open dialog. This allows you to insert either the whole file. just click on it. use the Switch To… command or Adobe Audition’s Organizer window. but feel free to re-run this command as often as need to insert addition video soundtracks into your session. If you need to access another open waveform whose name isn’t listed. a plus sign will appear next to its name to let you expand that file out and see all the cue ranges in it. File/Cue List This command activates Adobe Audition’s Insert Into Multitrack dialog.) Note: You’re limited to inserting audio from just one video file at a time. the Insert into Multitrack window automatically closes. just drag it off the list and drop it on the desired track. only the last 10 opened will appear on the Multitrack View’s Insert menu. . Insert Into Multitrack Dialog To place an item from the list at the session window’s insertion point. Currently Open Waveform List Entries for up to 10 open waveforms are listed. Note: If you have more than 10 waveforms active in Edit View.316 CHAPTER 17 Insert Menu – Multitrack View Audio from Video File Insert the soundtrack from one or more supported video files to the session window using this command. Think of this section of the Insert menu as a MRU (“Most Recently Used”) list of open waveforms. No matter which insertion method you choose. If you want to insert an item anywhere in the session window. which displays Adobe Audition’s Choose a video file dialog. If a file has cues in it. This window lists all of the files that are currently open in Edit View. or expand it and grab one of the cue ranges directly.

which results in the second waveform taking on the amplitude characteristics of the first waveform. This lets you. have a bass guitar line which only sounds when a drum is being hit. for example. • Make a selection that covers the part of both wave blocks you want to process. compress. gate. Envelope Follower Dialog In addition to applying an amplitude envelope to a waveform. The amplitude map. or limit the resulting signal. In this example you would have the drum waveform as the Analysis wave. based on the input level of another. and the bass guitar waveform as the Process wave. To initiate Adobe Audition’s Enveloper Follower effect: • Position the wave blocks so that the sections you want to process together are lined up. or envelope of one waveform (the Analysis wave) is applied to the material of a second waveform (the Process wave). you can also alter the dynamic properties of the result with a variety of settings to otherwise expand. Envelope Follower The Envelope Follower varies the output level of one waveform.317 Chapter 18: Effects Menu – Multitrack View T his menu contains all of Adobe Audition’s “exclusively multitrack” effects. .

the Effects toolbar. • Attack Time: the attack time (measured in milliseconds) applied just before output. Output To Choose the track to output the resulting waveform to. Any waveform in the session window may be selected from this drop-down list. both channels are used to find a single input dB value. Gain Processor Set the following: • Output Gain: the gain (measured in dB) applied to the output signal.318 CHAPTER 18 Effects Menu – Multitrack View • Ctrl+Left-click each wave block you wish to process to give them focus. • Access the Envelope Follower from the Effects pull-down menu. thus preserving the stereo center-channel image. the Release is the time it takes for the end of the pulse to reach the desired level. . For example. The following are the major components of the Enveloper Follower dialog: Analysis Wave Choose the waveform from which to “read” the amplitude envelope. if the Attack and Release times are each set to 5 milliseconds (making 10 milliseconds total). then a vibrating sound at 100Hz will be heard. sometimes causing the surrounding background noise to get louder on one channel at a time – which can sound strange. For instance. or the Effects section of the Organizer window. audible effects (such as a “vibrating” sound) can be heard at around 1000 Hz/ms total. For example. • Release Time: the release time (measured in milliseconds) applied just before output. • Joint Channels: With stereo audio files. Thus. This essentially “pushes” the graph up or down by the gain given. This means a loud drumbeat on the left channel will also cause the right channel to be reduced in level by an equal amount. It’s the last step performed on the audio. each channel can be compressed independently. If Joint Channels is checked. a loud drumbeat in the left channel will make the background noise sound louder in the right than in the left. Level Detector Set the following: • Input Gain: the gain (measured in dB) added to the signal before it goes into the Level Detector (the section that detects the current level). a total value of about 30 milliseconds is about as low as you can go without introducing these effects. Attack Time determines the time in milliseconds that it takes for the processed output signal to reach its specified output volume. it will take the amount of time specified in this field before the output actually drops to its corresponding volume level. This entry defaults to the next available track. Process Wave Select the waveform containing the material to apply the amplitude to. and both channels will be amplified to by the same amount. Any waveform in the session window may be chosen from this drop-down list. If there’s suddenly a quiet portion that drops 30dB. where the Attack is the time it takes for the start of a pulse to reach the desired output volume. If the sum of the Attack and Release times is too short (less than 20 milliseconds total). Release Time is the time it takes the end of a previous output level to reach the specified output volume.

and is considered by many to be outdated. Attack Time determines the time in milliseconds that it takes for the processed output signal to reach its specified output volume. a limiter (flat horizontal line) at -10dB causes the RMS amplitude of the result to average -10dB (where 0dB is a maximum amplitude sine wave without clipping). these onsets can go beyond the limits of your compressor settings. If there’s suddenly a quiet portion that drops 30dB. You can define a band. this is obviously not desirable if you’re using limiting in order to reduce the maximum amplitude of the audio. then the equivalent peak value will be -40dB. a total value of about 30 milliseconds is about as low as you can go without introducing these effects. High Cutoff This is the highest frequency that dynamics processing will affect. which may be desirable in certain compression scenarios since it can enhance the impact of. • RMS is the graph interpretation method that more closely matches the way people hear volume. . dynamics processing only affects audio in the frequency range of 2kHz to 9kHz. To use the entire frequency range of the source material. or range. the Release is the time it takes for the end of the pulse to reach the desired level.ADOBE AUDITION 319 User Guide • Attack Time: the attack time (measured in milliseconds) applied when retrieving the current amplitude information. within the current frequency range. where the Attack is the time it takes for the start of a pulse to reach the desired output volume. However. to which compression or expansion is applied. It equates to the RMS value times two. For example. • Peak Mode is a little more difficult to use than RMS.). Release Time is the time it takes the end of a previous output level to reach the specified output volume. For example. then a vibrating sound at 100Hz will be heard. or range. • Peak/RMS: Two methods of graph interpretation are provided for this effect: Peak and RMS. If the sum of the Attack and Release times is too short (less than 20 milliseconds total). • Release Time is the release time (measured in milliseconds) applied when retrieving the current amplitude infor- mation. this setting should be a one-half of the current sample rate (24000 for 48kHz. This occurs because the RMS value calculated was mapped to a peak sample value for output. At times. if the RM value is -20dB. audible effects (such as a “vibrating” sound) can be heard at around 1000 Hz/ms total. and for brief instances. For example. etc. For instance. 11025 for 22kHz. To use the entire frequency range of the source material. dynamics processing only affects audio in the frequency range of 1kHz to 5kHz. The Low Cutoff point is the bottom boundary in defining this band. For example. Low Cutoff This is the lowest frequency that dynamics processing will affect. The High Cutoff point is the bottom boundary in defining this band. This mode causes the output to be exactly the RMS amplitude that’s specified in the graph. within the current frequency range. You can define a band. to which compression or expansion is applied. Lookahead Time Lookahead Time is used to handle sharp spikes that might occur at the onset of a louder signal. Thus. with values of 1000 for Low Cutoff and 5000 for High Cutoff. leave this setting at 0. if the Attack and Release times are each set to 5 milliseconds (making 10 milliseconds total). with values of 2000 for Low Cutoff and 9000 for High Cutoff. it will take the amount of time specified in this field before the output actually drops to its corresponding volume level. a drum hit. This method is basically here for backward compatibility. say. That is.

Use Spline Curves when you want very smooth curves instead of straight lines (with their discontinuities at the control points). Each copy of the waveform is placed in its own track in the session window. To get the curve closer to a control point. the points control the shape of this curve. best fit curve instead of a straight line between control points on the graph. Frequency Band Splitter Use the Frequency Band Splitter to take a selected waveform block (or a highlighted portion thereof) and make up to 8 copies of it. -100 and 0. When you use Spline Curves. A line that flows directly from the lower-left to the upper right (which is the default) depicts a signal that’s been left untouched. and loud sounds will be quiet. . each control point must be higher than the one to its left). Invert The Invert button changes the graph to one that will function as the exact opposite. (In other words. Presets The Envelope Follower effect supports Presets for storing and recalling your favorite settings.320 CHAPTER 18 Effects Menu – Multitrack View Note: The spikes occur because it takes a little time to determine (the Level Detector’s attack value) and react (the Gain Processor’s attack value) to the current signal level. you can boost all input that has a level of around -20dB. instead of right on top of the transient. thereby straightening out the line. if an effect function with a compressor characteristic is being displayed. with each copy assuming a different frequency range of the original. the line will not ordinarily travel directly through the control points. leaving everything else unchanged. Note: For a graph to be invertible. Splines Check this option to generate a smoother.. so Lookahead Time will actually cause the attacks to start before the audio gets loud. More information about Presets can be found in the “Looking at the Work Area” chapter. thereby altering the dynamic range. it must have points in the two default corners (-100. a spike will stay loud until all of the attack times have elapsed.) Note: More information on Adobe Audition’s graph controls can be found in the “Looking at the Work Area” chapter. Flat Press this button to remove all control points with the exception of the points at each end of the graph line. rather. You can also draw an inverse line (a line from upper-left to lower-right) that will dramatically boost low amplitudes while dramatically surpassing high amplitudes. 0) and its output level must always increase from left to right (i. Split points are determined by the crossover frequencies specified. pressing Invert changes the graph to one with the corresponding expander characteristic. Otherwise. For example. The more control points there are clustered together.e. For instance. all quiet sounds will be loud. since every input value goes to the exact matching output value. the closer the spline curve will be to those points. with a Lookahead Time of 0. Adjusting the shape of the line will adjust the input or output assignments. click to create more control points near the point in question. Graph The graph depicts input levels along the x-axis (left and right) and the new output level along the y-axis (up and down).

. Crossovers These are the crossover frequencies that are used for split points. The names of the copies are listed in this column. one from 800 to 3200Hz. Note: If you have more than one wave block selected. enter different crossover frequencies in these boxes. which can have phase error (often audible as a ringing quality). • Access the Frequency Splitter from the Effects pull-down menu. This is usually the original name of the waveform plus its frequency range. using the default setting of 3 bands with crossover values of 800 and 3200. Higher numbers create higher accuracy in the frequency filtering that the effect does. three copies of the selected waveform are made: one that has the frequencies of the selected wave from 0 to 800Hz. based on the sample rate). The number of active text boxes is based upon the number of Bands chosen. try increasing this number to get a more accurate filter. However. The default FIR Filter Size of 320 should work most of the time. The following are the major components of the Frequency Band Splitter dialog: Bands Choose the number of split points here. the Effects toolbar. as determined by the Crossovers. Output Waves Adobe Audition automatically assigns each copy of the original waveform block a new name. To initiate the Frequency Band Splitter dialog: • Make a selection that covers the part of the wave block you want to process. This is unlike IIR filters. the Frequency Band Splitter effect will be unavailable. or the Effects section of the Organizer window. and one from 3200 to 22050Hz (or whatever the maximum frequency present is.ADOBE AUDITION 321 User Guide Frequency Band Splitter Dialog For instance. Max FIR Filter Size Adobe Audition’s Frequency Splitter effect uses an FIR (Finite Impulse Response) filter. The original waveform will be copied “this many times” with each copy having a different frequency range. if you get any distortion or ringing in the filtered waves. If you don’t want to use Adobe Audition’s default values. which maintains phase errors over the response curve. • Ctrl+Left-click the wave block you wish to process to give it focus.

The following are the major components of the Vocoder window: Control Wave From this drop-down list. Specifically. or the Effects section of the Organizer window. which can affect processing speed and quality. More information about Presets can be found in the “Looking at the Work Area” chapter. In the example above. Output To Choose the track to output the resulting waveform. choose the waveform (from any that are already active in the session) to act as the control signal. Vocoder A vocoder is a special effect which takes two inputs. usually the instrument) with the input of the other (the control signal. the instrument (the process sound) could be made to “sing” by affecting it with the voice (the control sound). • Ctrl+Left-click each wave block you wish to process to give them focus. allowing for the sound of one instrument to be “controlled” with the other. the Effects toolbar. FFT Size The FFT Size parameter specifies the size of the FFT to use. Vocoder Dialog To initiate Adobe Audition’s Vocoder effect: • Position the wave blocks so that the sections you want to process together are lined up. usually an instrument of some kind and a voice.322 CHAPTER 18 Effects Menu – Multitrack View Presets The Frequency Splitter effect supports Presets for storing and recalling your favorite settings. Process Wave Use this drop-down list to select the waveform (from any currently open in the session window) to act as the process signal. This is normally some kind of synthesized sound to use to replace the vocal chords. This is usually a vocal of some kind. • Access the Vocoder from the Effects pull-down menu. the amplitude of given frequencies in the process signal are made to fluctuate in response to the same amplitude changes in the control signal. usually the voice). . • Make a selection that covers the part of both wave blocks you want to process. and modulates one signal (the process signal. This entry defaults to the next available track.

and FFT sizes from 2048 to 6400. raise or lower this to compensate. Even larger FFT sizes should produce extra smooth results. while large values can be too blocky sounding. Amplification You can set an amplification amount in dB to adjust the final waveform by. Values between 10 and 30 milli- seconds usually work best. . you can simply choose a percentage to use for Window Width in specifying the interval used per FFT taken. With higher values. but will take longer to process. A value of 15% will produce a subliminal effect. but all of the formant information. Note: Smaller values can produce a hum. but if the results are too quiet or loud. use 3 or 4 overlays.ADOBE AUDITION 323 User Guide • Higher values (like the default value of 4096) mean cleaner-sounding filters. Usually this can be zero. For ease of use. • Smaller numbers make for a faster processing time. Affect Level This sets the amount of processed (vocoded) signal that ends up in the resulting waveform. narrow resynthesis windows will give better time resolution in the event that the vocoded signal sounds too smoothed out. more formants and less of the actual vocal tone from the source is used. A value of 90% will generally produce good results. Vocal Crossover This frequency setting is used to filter out. more of the speaker’s voice characteristics get vocoded in.) Ideally. a resynthesis window of 1 or 2. try selecting Window Width and set it to about 90%. but the results may sound choppier. the source waveform’s underlying base frequency (voice) from the vocal formants. and with higher overlay settings. More overlays can produce smoother results. Values of 3 to 12 work well. Window Width As an alternative to setting the Interval Size. (This shouldn’t be confused with the speaker’s formant characteristics. Interval Size This sets the time interval (measured in milliseconds) per FFT taken. but will take a bit longer to process. or separate. Resynthesis Window Choose the size of the window used for resynthesis of the vocoded signal. while 50% keeps more of the original waveform. Narrower windows will make hard consonants sound clearer. Overlays This is the number of FFTs that are overlapped in processing the vocoder. As this value gets lower. but higher overlay settings may require you to vary the interval size used. Set this value to 100% for full vocoding. as it will just barely affect the process wave with the voice. The resynthesis window number should never be larger than or equal to the number of overlays. you want none of the source voice itself carried over. so the synthesizer “talks”.

324 CHAPTER 18 Effects Menu – Multitrack View .

. you’ll need to choose a device for MIDI In that’s recognized by Windows. the Play control plays the selection (or session) once and then stops playback. a sequencer. go to Options > Device Properties and click on the MIDI In tab. MIDI Trigger Enable By checking MIDI Trigger Enable. Show Levels on Play and Record This item enables or disables Adobe Audition’s Level Meters used to visualize audio levels during recording and playback. Use the drop-down list to select the device to be used for triggering. Select MIDI Panic Button to send an All Notes Off command to every MIDI device that Adobe Audition knows about. • When there is no checkmark. • When Loop Mode is checked. Monitor Record Level(s) Checking this option will activate the Level Meters and start monitoring the recording source. which is useful for setting levels before recording. press the Stop control or uncheck Monitor Record Level(s) on the Options menu. pressing the Play control will continuously loop the current selection (or the entire session.325 Chapter 19: Options Menu – Multitrack View T he Options menu contains commands for customizing Adobe Audition’s settings for the Multitrack View. To do this. any of Adobe Audition’s shortcuts that have been assigned to MIDI events can be called from a MIDI keyboard. Disable this option if you don’t wish to have shortcuts respond to MIDI events. such as a soundcard’s built-in MIDI interface or a MIDI interface card. To quit monitoring. or any other device capable of issuing a MIDI command. Note: Before attempting to enable MIDI triggering. if nothing is selected). Loop Mode The Loop Mode option toggles Adobe Audition’s Play control between Loop and Play states. MIDI Panic Button Sometimes MIDI devices get out of sync and get “stuck notes” where a note won’t stop playing. Use the keyboard shortcut of F6 to quickly toggle the status of the MIDI Trigger Enable function.

SMPTE Slave Enable With this option turned on. Note: The SMPTE code that Adobe Audition generates must be output through a MIDI port. selecting any format prefixed with “SMPTE” (“SMPTE 30 FPS”. Note: Before attempting to enable SMPTE sync. or with the appropriate hardware.326 CHAPTER 19 Options Menu – Multitrack View Synchronize Blocks with Edit View When Synchronize Blocks with Edit View is checked and you switch to Adobe Audition’s Edit View from Multitrack View. a MIDI interface card. go to Options > Device Properties to bring up the devices window. or other hardware device options. Adobe Audition will update its current sync status in the lower left of the Status Bar to Opened MIDI Input Device when waiting. if you’re only looking at seconds 4 through 27 on a wave block when you double-click on it in Multitrack View. Locations can be entered in either of the two formats listed to the right of the SMPTE Start Time Offset text box. such as a MIDI sequencer. Synchronizing when establishing lockup. For example. Adobe Audition can synchronize its playback to SMPTE time code (MTC) generated from another device. and Playback Synchronized when actually established.) To do this. This can be done by right-clicking on the ruler and selecting Display Time Format. then hit F12 or click the leftmost button on the File toolbar to switch views. the current selection and view information will be transferred to the Edit View. Adobe Audition can generate “master” time code for another program or a piece of hardware to follow. To configure the MIDI port for your system. and then select your MIDI input device from the SMPTE Slave Device drop-down list. Select the MIDI In tabbed window. . a VCR or tape deck. This is the time location that Adobe Audition will wait for before playback begins. The same goes with selection information if you highlight an area. With SMPTE Slave enabled. SMPTE Start Offset This command brings up the General tab of Adobe Audition’s Session Properties window. SMPTE Master Enable Besides being able to slave to time code from another source. Adobe Audition will output the SMPTE time code to whichever device is selected in this box. After checkmarking SMPTE Master Enable from the Multitrack View > Options menu. On the MIDI Out tab you’ll see a SMPTE Output drop-down list box. go to Options > Device Properties to bring up the devices window. you need to select a SMPTE time code format for the ruler. for example). This is commonly referred to as slaving. you’ll need to choose a device for MIDI In that is recognized by Windows (such as a soundcard’s built-in MIDI interface. Then. where you can enter a time offset to use when synchronizing to SMPTE time code. you'll be looking at seconds 4 through 27 of that wave in the Edit View.

Sample Accurate Sync Some sound cards are capable of sending sample-accurate sync timing information to Adobe Audition. use of memory and hard disk space. This can relieve some of your computer’s processing load at playback time if some audio can be mixed before you even hit the Play button. but in most cases you’d be better off with it enabled. .) To do this. Adobe Audition will function with background mixing turned off. or other hardware device options. Pressing the F4 key is a fast way to display the Settings dialog. go to Options > Device Properties to bring up the devices window. Settings You can customize Adobe Audition’s colors.a. However.ADOBE AUDITION 327 User Guide Note: Before attempting to enable SMPTE sync. and don't want the hard drive trying to keep up with the background mixing only to have you make more edits which invalidate the previous mixing. Metronome This command brings up the Metronome tab of Adobe Audition’s Session Properties window.k. Volume Control) so that you adjust sound card recording levels. and miscellaneous other program characteristics in Options > Settings. Set MIDI In (Sync/Trigger) to the input to be used for SMPTE sync (commonly YourDevice: Sync). Background mixing pre-mixes audio before the audio is played. you may want to pause background mixing if you are making lots and lots of edits. SMPTE options. you’ll need to choose a device for MIDI In that is recognized by Windows (such as a soundcard’s built-in MIDI interface. multitrack behavior. Engage this option to take advantage of this sample-accurate sync when slaving to SMPTE through such sound cards Pause Background Mixing Enable this option to halt Adobe Audition’s background mixing process. a MIDI interface card. Note: The Metronome function is fully documented in the “View – Multitrack View” chapter. Windows Recording Mixer Select this command to display the Record Control part of the Windows Mixer (a. Note: Complete documentation on the Settings dialog can be found in the “Options Menu – Edit View” chapter.

or any other device capable of issuing a MIDI command. MIDI output. instead of using your mouse to go to the Edit menu and selecting Cut to cut the highlighted portion of a wave block. Likewise. This type of shortcut is referred to as a MIDI Trigger. . you can execute commands from a MIDI keyboard. Note: The Keyboard Shortcuts dialog is fully documented in the “Keyboard Shortcuts” chapter. Note: Complete documentation on the Device Properties dialog can be found in the “Options Menu – Edit View” chapter. Note: The Device Order dialog is fully documented in the “Options Menu – Edit View” chapter. recording.328 CHAPTER 19 Options Menu – Multitrack View Device Properties The Device Properties dialog is where you tell Adobe Audition which devices to use for playback and recording of waveforms. For example. as well as input and output of MIDI signals. you can simply press Ctrl+X. a sequencer. Shortcuts (Keyboard & MIDI Triggers) Shortcuts are used to speed up the editing process by allowing you to execute almost any command in Adobe Audition from your computer and/or MIDI keyboard. and MIDI input devices. The order of preference chosen determines which tracks get assigned to which devices when loading multitrack sessions on systems with different sound card configurations. Device Order The Device Ordering Preference window allows you to set the order in which Adobe Audition uses your system’s playback. An example of this would be assigning the Play command in Adobe Audition to the C4 note on your MIDI keyboard.

Then launch the Multichannel Encoder from the View menu. you can individually pan each track to your multichannel setup. It is also possible to export your session as 6 Mono Wave files or as one interleaved 6-channel Wav file for use with an external Multichannel Encoder such as a Dolby or DTS encoder. first open an existing Adobe Audition session. preview the current mix and then Export the session as an encoded WMA Pro version 9 Multichannel file.329 Chapter 20: Multichannel Encoder A dobe Audition includes the Multichannel Encoder. If you have an earlier Windows Media version on your PC. Once all your tracks are added. it is necessary to meet the following requirements: • A sound card installed and selected that offers at least 6-channel analog output. the Encode to WMA9 option will not be available. or create a new session in the Multitrack window. stereo pan and FX settings. which are described in detail below. you next want to achieve a basic stereo mix balance with your desired track volume. To be able to Export and Encode your project to a 6-channel Windows Media file. To use the Multichannel Encoder.1 Surround” preview playback from the Multichannel Encoder. Multichannel Encoder Requirements To achieve proper “5. The latest Direct X and Windows Media Updates are available on the Microsoft website. .0 or later installed If your PC does not meet these requirements then you may receive a warning dialog. a self-contained dialog where you can access the tracks of any existing Multitrack session. and your Play Track and Play All buttons will not be accessible. In the Multichannel Encoder dialog. you must have the Windows Media 9 runtime installed. as well as a special interleaved device driver that is compatible with the Microsoft DirectSound multichannel format • Microsoft Direct X 8. Elements of the Multichannel Encoder The Multichannel Encoder dialog box contains several elements.

This is achieved by going into the Adobe Audition bus tab at the left of the track. Additionally. You select which tracks and/or bus outputs you want to be included in the multichannel mix by checking the box at the left of each track.330 CHAPTER 20 Multichannel Encoder Multichannel Encoder dialog box. . Once the dry value is set greater than 0. Any track that is unchecked here will be removed from the multichannel preview and will not be included in the export of the multichannel project. and the bus output (which consists of all track signals routed to that bus) can be selected and panned as one mono or stereo signal. This list will show all the tracks and buses in use in the current Adobe Audition multitrack session. Track List At the top left of the dialog is the track list. Instead. switching to the Bus Mixer tab and adjusting the balance of the wet and dry values. or into the Adobe Audition multitrack Mixer Window. the bus that the track was assigned to will appear in this track list. this creates a selectable track entity that will appear in the Multichannel Encoder Track List the next time you launch it. it is also possible to access the “dry” track signal and pan it separately as well. Panning Tracks and Buses separately Note that if you have routed a track’s output to a bus in the Multitrack that you will likely not see that track appear in this track list.

This type of routing can be very useful for adding ambience and dimension to your multichannel mixes. Once these settings are all made within the multitrack session. You might have several other vocal tracks in this session as well and therefore you might add one Reverb effect on Bus A and set each vocal track’s output to Bus A to have all be effected by this Reverb. Panner Point . Center D. For example. the VocodeStinger track is selected in the following example: Track List Surround Panner A B C D E F G Surround Panner options: A. Low Frequency Effects (Sub Bass) G.ADOBE AUDITION 331 User Guide For an example. consider that track 1 of a session consists of a vocal wav file. Front Left C. But for track 1 you might wish to achieve a different surround panning effect where a non-effected track signal is panned to the front channels. Right Surround F. To perform panning adjustments on any track. launch the Multichannel Encoder dialog and you will then see that both Track 1 and Bus A are available as selectable entities that can be panned individually. while the effected bus output signal is sent only to the rear surround channels. Left Surround B. Front Right E. If you set the track 1 bus wet and dry values each to a value such as 50 then you will be able to pan these two signals separately. select any one track in the list by clicking on the track name so that it becomes highlighted.

It also keeps your stereo left and right signals from your track discrete when panning in the sound field. the audio from the currently selected track is summed to a mono signal and sent discretely to this one speaker channel. However. LFE only Sends the entire track signal to the LFE channel. these stereo sources will retain their “stereo image” while being routed to the multiple channels. the left stereo signal will be sent to the Front Left and Left Surround channels.1 surround playback systems are set to a cutoff of < 80 Hz or < 120 Hz. when seated in the center of the speakers. stereo Sends the selected track’s signal as a stereo source directly to only the rear Left Surround and Right Surround speakers in a 50/50 stereo balance. This is an easy way to send the complete track signal all to one channel. That is. You can also drag the Panner Point outside the sound field directly on top of one of the five main speakers or on top of the LFE speaker. Typically most LFE components in 5. the blue area indicates where the listener would perceive the sound coming from. a portion of the sphere will appear dark blue in color to indicate the image of the sound field. For example.332 CHAPTER 20 Multichannel Encoder The Surround Panner allows you to position the selected track anywhere in the main speaker sound field by left clicking and dragging the white Panner Point. this option always sums the track’s signal to a mono signal. Surround panner. Therefore. your track’s right signal will be sent to the Front Right and Right Surround channels. Your monitoring system will apply the proper crossover frequency cutoff for reproducing the audio sent to the LFE channel. . Panning Assignment Selector Panning Assignment Selector At the top right of the dialog is the Panning Assignment selector where you can choose to either use the Panning Interface to position your track sound source. Ls + Rs. stereo Sends the selected track’s signal as a stereo source directly to only the Front Left and Front Right speakers in a 50/50 stereo balance. summed to mono This option allows you to use the Panning Interface to position your sound source. To follow is a description of each of the options in this list: Surround panner. Once the Panner Point is in any one of these speaker locations. This indicates the power balance of your sound source coming from each of the five main channels. In this mode. stereo source This option allows you to use the Panning Interface to position your sound source by dragging the Panner Point to the desired position. panning the sound source to any location in the sound field will result in the summed mono signal being fed to all channels. or to make fixed panning assignments for your track. Additionally. if your track includes a stereo file. The Center channel always receives a summed to mono (L + R) signal. The Adobe Audition Multichannel Encoder itself does not apply any filter to the LFE channel audio. as you pan in the five channel sound field. Note that as you position the Panner Point within the circular sound field the light blue Power Indicator lines coming from the speakers will change in length. FL + FR.

Often home receivers and LFE equipped speaker systems will employ a bass management circuit on playback that will automatically route ALL sub-120 Hz or lower frequencies from all channels to the LFE speaker. any low-pass filtering needed for your final LFE channel content should be applied to your audio within the Adobe Audition Multitrack. If this option is selected for a track containing Mono source file. it is possible to overdrive the end listener’s system by sending too much overall sub-120 Hz audio to the LFE channel. or on your Exported wav files.* If the currently selected track is assigned to only the LFE channel. nor does it apply any filtering during preview. Rs only These options each sum the selected track’s audio to a mono signal and send it all to the selected channel. With this slider set to zero. then the same signal will be sent equally to both the Center and LFE channels. exporting or encoding. FL only. Center only. you can also raise the amplitude of this slider to additionally send the track’s signal to the LFE channel. It is recommended that you utilize a Bass Management circuit in your monitoring setup to ensure that you hear the representative mix levels that might be reproduced in an end listener’s playback system. Therefore. the Panner Point positions the sound source balance between the five main channels. It is also worth noting that Adobe Audition’s Multichannel Encoder does NOT apply filtering to audio sent to the LFE channel. Center Channel Level Slider Center Channel Level Slider . This is the same as dragging the Panner Point directly onto one of the five main speakers in the Surround Panner interface. it will route the track’s left channel signal to the Center channel and the track’s right channel signal to the LFE channel discretely.ADOBE AUDITION 333 User Guide Center + LFE. FR only. Therefore. this slider will attenuate the amount of this track’s output sent to the LFE channel. However. no track audio is sent to the LFE channel. Further. Sub Channel Level Slider Sub Channel Level Slider When in one of the Surround Panner modes. some playback systems and even encoder systems will apply a + 10 dB boost to LFE content. stereo Note that this option is most useful with a stereo source file – when this option is selected for a stereo track. This allows you to apply your own specific filtering as needed for your projects. The use of a bass management circuit in your monitoring system will therefore allow you to compensate for these playback scenarios and adjust your mix accordingly. Ls only.

3 At the top right of the Waveform display section. the Center slider determines the balance of the FL. With this slider at 100. FR balance ratio. the Center channel receives an equal % of signal as the FL and FR. though. Center and FR channels. Track Level Slider Track Level Slider In any selected pan mode. It is possible to create dynamic panning over time by using these envelopes. stereo source or Surround Panner. The yellow envelope line controls the Left/Right balance and the green envelope controls the Front/Surround balance. The yellow line starts on top of the green line. With this slider at 0. no signal is sent to the Center channel. This moves the vertical cursor to this time location. . follow these steps: 1 Select and check the box for one of your tracks in the Track List. Center. You will see two envelope lines appear in the Waveform display. The position of the Panner Point then determines the positional panning according to this FL. summed to mono options. 2 In the Panning Assignment menu. Pan Envelope Automation Pan Envelope Automation When the Pan Envelopes checkbox is selected. These envelopes are interactive with the positioning of the Panner Point in the Surround panner interface. so you may only see the yellow line until you change the pan position.334 CHAPTER 20 Multichannel Encoder When in the Surround Panner modes. check the Pan Envelopes checkbox. two envelope lines are shown in the waveform display window. To create a dynamic pan on a track. select either the Surround Panner. this level slider controls the amplitude level of the currently selected track within the Multichannel mix. 4 Left click in the waveform display at the desired time location where you would like to set a pan destination for the sound source.

To access the four available Zoom commands. you can drag the Panner Point during playback and hear your static pan positioning in real-time. click on the Clear All button at the top right of the waveform display area. 7 These Envelope handles are now also able to be edited by left click dragging them to any position. The four available options here are: • Zoom In • Zoom Out • Zoom Full • Zoom to Cursor You can also zoom in to a specific time area by right click-dragging the desired area on the time ruler itself. 10 Place the playback cursor back to the start of the track and select one of the Play buttons. 8 To clear all envelope handle points and reset the track to flat envelopes. Zooming There are several options for zooming in and out within the Waveform Display. You can toggle the Pan Envelopes setting on/off and any envelope points you have created for this track will be retained. place the mouse cursor over the time ruler which runs across the bottom of the waveform display and right click to bring up the context menu.ADOBE AUDITION 335 User Guide 5 Now move the Panner Point to the desired position in the five channel sound field. Note that as soon as you move the Panner Point that two “handle” points are created on the Envelope lines within the Waveform display. 9 Select the Splines checkbox if you prefer the envelope to use rounded Spline curves for smoother transitions between points. simply drag it up or down beyond the boundary of the waveform display area. . This removes the Envelopes from the waveform display and allows you to set the Panner Point to any static position you like. Watch the Panner Point position and listen for the dynamic pan setting you just created. then simply deselect the Pan Envelopes checkbox. right click and choose Zoom Out or Zoom Full from the context menu described above. Another handy Zoom method is to place the mouse pointer anywhere within the waveform display and turn the mouse wheel. Note that if the Pan Envelopes checkbox is not selected. If you wish to delete any single handle. To Zoom back out again. If you prefer to keep your track panned to a fixed point throughout the duration session. Reversing the mouse wheel rotation will zoom back out incrementally. This will zoom into the time area directly beneath the mouse pointer. and the Panner Point will move in tandem to show you the relative position in the sound field during playback. 6 You can also left click directly on either of the envelope lines to create additional adjustable “handles” for shaping the envelope lines. These handles now move with your positioning of the Panner Point.

These levels are what the actual levels will be for your exported wav or wma files from the session. This slider should be used to adjust your playback volume without affecting the amplitude of the exported files. the meters will display the output of only the selected track.1 mix. Output Meters Output Meters This set of six meters displays the output of each of the channels during Preview. Playback will always play to the end of the track. regardless of the current zoom level. Preview Volume Slider Preview Volume Slider Controls the volume of the preview playback – note that this slider will not change the amplitude of the exported WAV or encoded WMA files that are created from the Multichannel Encoder. Play All This starts preview playback from the cursor location and plays the multichannel mix with all tracks that are checked in the Track List. Use the Master Level slider for that use. nor will it affect the levels measured by the 6channel Output Meter.336 CHAPTER 20 Multichannel Encoder Transport Controls Transport Controls Rewind to Start This left arrow button will place the cursor back at the start of the track. Playback will always play to the end of the session. . Play Track This starts preview playback from the cursor location and only plays the currently selected track. regardless of the current Zoom level. and during Play All the meters will display the output of the complete 5. The overall 6channel level can be attenuated by the Master Level slider beneath the meters. During Play Track.

To make changes to these device and bit selections. however. This field will also show the currently selected bit rate for preview playback. . and this is the device that should be selected since the sound card’s driver will route the 6 channels of audio to the correct speakers. Use this slider and reference the meters to optimize the overall peak amplitude of the 5.channel output to. This will launch the Multichannel Preview Options dialog: Note: For information about device requirements. please see “Multichannel Encoder Requirements” on page 329. this slider is primarily offered to adjust the amplitude of the exported or encoded files.ADOBE AUDITION 337 User Guide Master Level Slider Master Level Slider The Master Level slider will affect the audible level of your preview playback. Preview Device Selection Preview Device Selection The Preview Device field displays the currently selected device that Adobe Audition will route its 6. Multichannel Preview Options dialog box Some sound cards that offer 5.1 channel mix so that none of the channels are clipping. will display only one device driver listed.1 playback. press the Change button to the right of this field. such as the Creative Labs Audigy.

but at the cost of less preview stability.wav and 6-channel . you can select one of the 24 or 32 bit rates here to allow the preview to more accurately play back the higher bit rate content of your session. 16 bit. Adjusting this slider farther left will reduce the buffer size that can result in lower latency. for the M-Audio Delta 1010LT sound card that offers this type of driver.wma files will be created. then you should choose the Export to 6 mono wav files option. in addition to several individual stereo drivers. The slider can be adjusted to the right to create larger buffer sizes. but if your session includes higher bit rate files. A higher latency means that it will take longer for you to hear the result of changes made to any sliders or panning adjustments made while previewing. and if your sound card supports higher bit rate playback.338 CHAPTER 20 Multichannel Encoder Some professional sound cards such as the M-Audio Delta 1010/1010LT or 410.” These driver types will accept the 6-audio input from Adobe Audition and automatically route it to the standard Microsoft 5. Channel Order When connecting your speakers to the analog outputs of a Multichannel sound card that offers the required interleaved multichannel driver. Preview Format Selector Use this drop down menu to select the bit rate of the preview playback material that is sent to your sound card. Echo Layla24. This can be kept at 16 bit.1 surround preview: • Out 1 – Front Left speaker (FL) • Out 2 – Front Right speaker (FR) • Out 3 – Center speaker (C) • Out 4 – LFE . it may be possible to reduce the buffer size and take advantage of lower latency.Sub Woofer speaker (LFE) • Out 5 – Left Surround (rear) speaker (Ls) • Out 6 – Right Surround (rear) speaker (Rs) Note that the above channel order is also the order in which your Exported 6-channel .1 channel configuration listed below. If you have a fast PC and/or if the session you are working on is a small one with few effects and panning envelopes. it shows up as “M-Audio 1010LT Multichannel. then the best action is to try moving this slider to the right. Frontier Design Dakota and EgoSys WaMi units offer a single Multichannel Device driver. For these cards that offer this special “interleaved” multichannel driver. you should ensure that your speakers are connected in this order to correctly reproduce the 5. which can allow for a more stable preview playback at the cost of raising the latency. . For example. Preview Buffer Size Slider This slider is offered to allow adjustment of the size of the buffers used for both the Play Track and Play All functions. If your project requirements include a different channel order (such as if you are submitting a master for use in a DTS encoded project or other surround format). If dropouts occur during preview playback. you should select this from the list.

Center D. the five main speakers should be placed at ear level and each at an equal distance from your listening position. Right Surround Export options Once you have completed mixing your multichannel project you will then want to export it to your desired file format. To select your export/encode options. The field in the main dialog indicates the currently selected format. Left Surround B.1 speaker placement: A. select the Export button at the bottom right of the window. The following graphic illustrates the recommended setup for 5.1 speaker placement. therefore. This launches the export dialog: . The LFE/Sub Woofer is a nondirectional speaker. but it would be practical to try moving it to slightly different floor positions to find the most accurate response within your environment. Adobe Audition includes the ability to encode directly to an interleaved 6-channel Windows Media 9 Pro (WMA) file or to export into two WAV formats. and this format is retained from your last used export option. A B C D E Recommended 5. it can be placed anywhere in the room on the floor. Front Right E. Ideally. Front Left C.ADOBE AUDITION 339 User Guide Speaker Placement The recommended physical speaker placement is also important for accurate monitoring.

The text entered in the name field will be used as a common prefix for saving each exported file or files.wav” (Front Left channel file) • 2 – “BossaNovaBed _FR. Once the name text is entered into the name filed. you can then select the desired Export format. six files will automatically be rendered and saved with these names: • 1 – “BossaNovaBed _FL. there are also different naming conventions for each. and in the lower Filenames to be saved the full filename(s) will be listed to show you how the Exported file(s) will actually be saved. The following section explains the file naming conventions used for each scenario. if the text “BossaNovaBed” were entered in the name field.wav” (Center channel file) • 4 – “BossaNovaBed _LFE” (LFE channel file) .340 CHAPTER 20 Multichannel Encoder Multichannel Export Options dialog box Multichannel Session Name field The Multichannel Session Name field will automatically be completed with the name of your Adobe Audition Multitrack session if you had already saved the session and named it. Since it is possible to Export to one of three different options (6-Mono Wav files. one interleaved 6-channel Wav file or encoded as one interleaved WMA 6 channel file).wav” (Front Right channel file) • 3 – “BossaNovaBed _C. For example. You can type a new name in this field if you like. the following would be how the files would actually then be named for each Export format: • For the 6-Mono Wav Export option.

wav mono files that typically can be used by any Windows audio application.wav” (Right surround channel file) • For the Interleaved 6-channel Wave Export format. if you are planning on preparing your project for a third party or specific encoding process. • Export as one interleaved 6-channel wav file: The Windows PCM . Export Formats Here you select the desired Export format. To select a different directory. or click on the button to the right of this field and browse to the destination of your choice. not all Windows audio applications are capable opening or playing back wav files that are not mono or stereo.Left surround (Rear Left) • 6 .ADOBE AUDITION 341 User Guide • 5 – “BossaNovaBed _Ls.Center • 4 .windowsmedia. Save In This field lists the currently designated directory where the Export files are to be saved.LFE • 5 . or by a software or hardware surround encoder.com . This interleaved 6-channel wav file type is commonly used by many hardware and software encoding systems. Choosing this option will save the multichannel session as one 6-channel file following the Microsoft “Wave Format Extensible” (which is also the SMPTE & ITU specification) channel order. or as 6-mono WAV files.wav” (Left surround channel file) • 6 – “BossaNovaBed _Rs. you can either type in an existing directory path.Front Left • 2 . then use the Export to 6 Mono WAV files when you export.Right surround (Rear Right) This channel order is also the typical one utilized as the desired input for Dolby Digital encoders. then the best option is to Export the project either as one interleaved 6-channel WAV file. For more information on the Windows Media 9 technologies. • Encode as WMA 6-Channel: Multichannel WMA files are capable of being played back by anyone that has installed the Windows Media Player version 9 or later. • For the WMA 6-channel Export format.wav”. Media Player 9 also requires that the user is running Windows XP as their operating system. the file will be encoded in the WMA format and saved as “BossaNovaBed.wav format spec also allows for a single file to contain multiple channels of audio. Below is a detailed description of each: • Export as six mono wav files: If you want to export to a format that can then be utilized by another audio software. one file will be rendered and saved as “BossaNovaBed. however. However. If a different channel order is required. which is defined as: • 1 . such as to encode your project as Dolby Digital or DTS.Front Right • 3 . assuming of course they also have a multichannel output sound card and 5.wma”.1 speaker setup. then the multichannel file will automatically be “folded-down” to play as a stereo file. If the end user has the Windows Media 9 player on any other Windows version. please visit the Microsoft Windows Media website at: http://www. it is recommended that you ask the recipient exactly which format they require since channel order requirements can differ for different encoding systems. The six mono wav files option will create standard Windows PCM .

including Constant Bit Rate (CBR). The Lossless option will compress to a smaller file size than wav. you should inquire with the recipient as to the format specifics. These attenuation parameters allow you to control how the levels of the Center. To encode your project as WMA. It is best to inquire with the recipient about all such requirements to ensure that the audience will hear your project the same as you are hearing it on your monitoring system! • Fold-Down to Stereo options: If the 6-channel WMA file is played back on a non-Windows XP system. The checkbox option Show codec formats that most closely match the session’s sample rate will limit the list of selectable WMA kbps option to those that are only the same sample and bit rate as the multitrack session’s files. Surround and LFE channels get mixed down with the front stereo channels and played back on a stereo output system. or on a system that does not have a 5. If you uncheck this box. if your project is to be sent out to a mastering.342 CHAPTER 20 Multichannel Encoder Export options The WMA format utilizes a perceptual compression scheme and allows you to select from several different quality settings. the crossover frequency points vary among different formats as well. . the complete list of WMA options will be presented. For example. Variable Bit Rate (VBR) and Lossless. Note: As mentioned above. the larger the file size. but will result in no fidelity loss whatsoever. and vice-versa. meaning that all frequency content of your channels lower than 80 Hz can be routed to a sub woofer. and all frequency content greater than 80 sent to mains. Windows Media Player 9 will automatically perform a “fold down” or “downmix” of the 6-channel playback to a stereo playback. Just as with stereo WMA files. the higher quality setting you select. Channel ordering differs between surround formats. these components should be accounted for in your mix before you deliver your master files to the recipient. Some systems also employ a boost of 10 dB for the LFE channel. Also. duplication or other outside service with the intention of being encoded into other specific surround or media formats. Therefore. select the WMA option and then the desired quality setting in the Format Options drop-down menu. automatically assuming your LFE content will be approximately this much lower in power than the main channels. DTS typically employs a crossover of 80 Hz.1 playback setup. The Windows Media Player 9 does this by accessing channel attenuation instructions that Adobe Audition’s WMA encoder writes into the file. This differs from the Dolby Digital system that utilizes a crossover point of 120 Hz.

simply go to File-Open as usual and this will open the multichannel file as six mono files. you can open the exported 6-channel file in Adobe Audition. they can then be edited and saved back as just as any mono file within any audio application that supports wav files. You should of course be sure to set the pan assignment to the correct channel order if you wish to keep the same channel order as the opened 6-channel file. interleaved multichannel WMA or WAV. This will automatically split the file into six mono files you can then insert them into six tracks of an Adobe Audition multitrack session. Opening Encoded and Exported files back in Adobe Audition Once you have performed your Export from the Multichannel Encoder dialog and created the new WMA or WAV file(s). -3 and –12 dB as shown above. To open a multichannel file in Adobe Audition’s Edit View. Adobe Audition is capable of opening 6-channel WMA or WAV files. This is a restriction of the Windows Media file format imposed by Microsoft on these operating systems. you may wish to open the files back into Adobe Audition. If you wish to use Adobe Audition to save the files back as one single. click on the Fold down to stereo settings button within the Multichannel Export Options dialog.ADOBE AUDITION 343 User Guide Fold down to stereo dialog box To access the Fold down to stereo dialog. The defaults are usually good settings for most files. The three numerical fields will default to –3. . Once these 6 mono files are created within Adobe Audition. it is necessary to launch the Multichannel Encoder dialog and assign each file back to its own individual channel and perform an export again as WMA Pro or 6-channel WAV as desired. If you are using Windows 98/Me/2000. the 6-channel wma files will be automatically folded down to a stereo file utilizing the Fold-down to stereo parameters mentioned in the previous section. To “save” these files back as one interleaved multichannel file. Note: 6-channel WMA files will only open as 6 mono files in Adobe Audition if you are running on Windows XP. but you can enter any value in any of these 3 fields between 0 and –144 dB as desired. This restriction is not imposed on 6-channel WAV files.

344 CHAPTER 20 Multichannel Encoder .

For example.345 Appendix A: Keyboard Shortcuts A dobe Audition offers a wide variety of built-in keyboard shortcuts that can be used to speed up the editing process. and the “R” key programmed to bring up the Noise Reduction window. The Shortcuts (Keyboard & MIDI Triggers) dialog The following list details the default shortcut commands that can be executed from your computer’s keyboard. Many users find these shortcuts help them to work a lot faster than using the corresponding menu commands. You’ll be surprised how much quicker editing can be with one-key shortcuts. Nearly all of these shortcuts. . toolbar icons. there are dozens of other Adobe Audition functions that can be given keyboard shortcuts. Go to Options > Shortcuts (Keyboard & MIDI Triggers) and assign one-key shortcuts to the effects and functions you use most. as well as commands that can be given using the keys on a standard MIDI keyboard instrument. Plus. or controls. may be changed using the dialog that appears when you access the Options > Shortcuts (Keyboard & MIDI Triggers) command (documented later in this chapter). You don’t however have to use the hotkey combinations we’ve created. you might want to have the “N” key assigned to the Normalize effect. the “Q” key set to activate the Quick Filter dialog.

346 Keyboard Shortcuts File Menu Shortcuts Ctrl+N Ctrl+O Ctrl+W Ctrl+F4 Ctrl+S Ctrl+Q Create a new waveform or session Open a new waveform or session Close a waveform or session Close a waveform or session Save a waveform or session Exit Adobe Audition Edit Menu Shortcuts Ctrl+C Ctrl+Insert Ctrl+X Shift+Delete Ctrl+V Copy the waveform or selection to the clipboard Copy the waveform or selection to the clipboard Cut the waveform or selection to the clipboard Cut the waveform or selection to the clipboard Paste the clipboard’s contents into the Wave Display or Session Display Paste the clipboard’s contents into the Wave Display or Session Display Display the Mix Paste dialog Undo the last action Undo the last action Redo the last action Trim the waveform so that only the highlighted part remains Delete the selection Display the Convert Sample Type dialog Insert the waveform into the Multitrack View’s Session Window Mark Intro Time Mark Sec Tone Paste the contents of the active clipboard to a new waveform Set the active clipboard to internal clipboard 1 Shift+Insert Ctrl+Shift+V Ctrl+Z Alt+Backspace Ctrl+Y Ctrl+T Delete F11 Ctrl+M 1 2 Ctrl+Shift+N Ctrl+1 .

.ADOBE AUDITION 347 User Guide Ctrl+2 Ctrl+3 Ctrl+4 Ctrl+5 Ctrl+6 F8 Shift+F8 Ctrl+F8 F2 F3 Ctrl+B Ctrl+L Ctrl+R Up Arrow Down Arrow F5 Shift+F5 Shift+Backspace Ctrl+Shift+Backspace Ctrl+G Ctrl+Delete Ctrl+Shift+Delete . Ctrl+Shift+Up Arrow Ctrl+Shift+Down Arrow Ctrl+K Ctrl+Up Arrow Ctrl+Down Arrow Set the active clipboard to internal clipboard 2 Set the active clipboard to internal clipboard 3 Set the active clipboard to internal clipboard 4 Set the active clipboard to internal clipboard 5 Set the active clipboard to the Windows clipboard Add the cursor position to the Cue List Add a track marker Add an index marker Repeat the last command (its dialog is shown) Repeat the last command (no dialog is shown) Enable both channels Enable the left channel only Enable the right channel only Adjust the channel left or track up Adjust the channel right or track down Refresh the display of blocks Check for hidden blocks Destroy the selected block Destroy the selected block now Group/Ungroup blocks Clear Volume Envelope points Clear Pan Envelope points Nudge the selected block to the left Nudge the selected block to the right Block color (next) Block color (previous) Choose color for block(s) Select previous block in track Select next block in track .

348 Keyboard Shortcuts Scroll/Select Shortcuts H J K L Ctrl+Home Adjust selection left side to the left Adjust selection left side to the right Adjust selection right side to the left Adjust selection right side to the right Scroll to the beginning of the waveform or session when the view is zoomed in Scroll to the ending of the waveform or session when the view is zoomed in Scroll the view one “page” to the left Scroll the view one “page” to the right Scroll the zoomed-in view to the left Scroll the zoomed-in view to the right Move the play cursor to the beginning of the waveform or session Move the play cursor to the ending of the waveform or session Move the play cursor one “page” to the left Move the play cursor one “page” to the right Move the play cursor to the left Move the play cursor to the right Move the play cursor to the start of the waveform or session Extend the selection to the beginning of the waveform or session Extend the selection to the end of the waveform or session Extend the selection one “page” to the left Extend the selection one “page” to the right Extend the selection to the left Extend the selection to the right Select the current view Select the entire waveform in Edit View. select all blocks in Multitrack View Select the previous block in the currently selected track Ctrl+End Ctrl+Page Up Ctrl+Page Down Ctrl+Left Arrow Ctrl+Right Arrow Home End Page Up Page Down Left Arrow Right Arrow Escape (Esc) Shift+Home Shift+End Shift+Page Up Shift+Page Down Shift+Left Arrow Shift+Right Arrow Ctrl+Shift+A Ctrl+A Ctrl+Up Arrow .

Alt+. Alt+Page Up Alt+Page Down Alt+/ Alt+Right Arrow Toggle between Multitrack View and Edit View Toggle display of Organizer window Toggle display of the Cue List Toggle display of the Sel/View controls Toggle display of the Session Properties window Toggle display of the Mixer window Toggle display of the EQ window Toggle display of the Track Properties window Set focus to the main display Set focus to the previous docked window Set focus to the next docked window Activate the previous floating window Activate the next floating window Flash the window that’s currently in focus Zoom in horizontally .ADOBE AUDITION 349 User Guide Ctrl+Down Arrow Shift+I Shift+O Shift+H Shift+J Shift+K Shift+L Shift+[ Shift+] [ ] Select the next block in the currently selected track Adjust Zero Cross in Adjust Zero Cross out Adjust Zero Cross left side to the left Adjust Zero Cross left side to the right Adjust Zero Cross right side to the left Adjust Zero Cross right side to the right Find the next beat to the left Find the next beat to the right Anchor the selection to the left when playing Anchor the selection to the right when playing View Menu Shortcuts F12 Alt+9 Alt+8 Alt+6 Alt+3 Alt+2 Alt+5 Alt+4 Alt+1 Alt+.

350 Keyboard Shortcuts Alt+Left Arrow Alt+Home Alt+End Alt+Up Arrow Alt+Down Arrow Ctrl+P Zoom out horizontally Zoom in to the left edge of the selection Zoom in to the right edge of the selection Zoom in vertically Zoom out vertically Display Wave Properties in Edit View only. display Advanced Session Properties in Multitrack View Analyze Menu Shortcuts Alt+Z Toggle the display of the Frequency Analysis window Options Menu Shortcuts F10 F4 F6 F7 P Alt+K Toggle the monitoring of the input signal in the Level Meters Display the Adobe Audition Settings dialog MIDI Trigger Enable SMPTE Slave Enable MIDI Panic (reset all MIDI devices) Open the Shortcuts (Keyboard & MIDI Triggers) dialog Transport Shortcuts Alt+P Alt+S Space Ctrl+Space Shift+Space Ctrl+Shift+Space Ctrl+Alt+Home Play normally Stop playback or recording Toggle between Play and Stop Toggle between Record and Pause Toggle between Play to End and Pause Toggle between Play All and Pause Move Play cursor to previous cue or beginning of waveform or session Move Play cursor to next cue or end of waveform or session Ctrl+Alt+End .

When using Adobe Audition with a MIDI sequencer. One of Adobe Audition’s best features is that most functions can have a keyboard shortcut assigned to them. An example of this would be assigning the Play command in Adobe Audition to the C4 note on your MIDI keyboard. you can trigger audio from your MIDI sequence by embedding a controller event at a specific location. a MIDI interface card. Not only can you assign commands to your PC’s keyboard. but you may also execute commands from a MIDI keyboard. but for longer audio segments you should use SMPTE to ensure synchronization. Note: Before attempting to enable MIDI triggering. as well as create new ones. or another similar hardware device. you’ll need to choose a device for MIDI In that is recognized by Windows.ADOBE AUDITION 351 User Guide Help Menu Shortcuts F1 Display the Help file’s Quick Reference section Keyboard Shortcuts Dialog The Keyboard Shortcuts dialog (Options > Keyboard Shortcuts) is where you can customize Adobe Audition’s existing keyboard shortcuts. such as a soundcard’s built-in MIDI interface. a sequencer. or any other device capable of issuing a MIDI command. This works well for shorter samples. . which can make editing much faster. and assigning playback in Adobe Audition to that event. This type of shortcut is referred to as a MIDI Trigger.

Restore Defaults Press this button to restore all keyboard shortcuts to Adobe Audition’s default assignments. Tab. Use the Clear button to remove an entry from the field. press the desired key(s) to use for the currently highlighted command’s shortcut key. Release the button to hide all Multitrack View shortcuts. Multitrack If the Multitrack button is depressed. With your text cursor in the Press new MIDI note or adjust new controller/value field. With your text cursor in the Press new shortcut key field. Adobe Audition gladly accepts most single key shortcuts. Caps Lock.) Conflicting Keys If a command’s keyboard shortcut is already in use. and Enter keys.) However. MIDI Trigger Use this section if you want to be able to execute the currently highlighted command as a MIDI event.352 Keyboard Shortcuts Keyboard Shortcuts List All of Adobe Audition’s commands and functions that can be assigned a keyboard shortcut are displayed in this list. It allows you to filter the Keyboard Shortcut list by category. and Alt keys (or any combination of the three) to act as the first part of a multiple key shortcut. You also may select the MIDI channel to receive the trigger from the drop-down Channel list to the right. Use the Clear button to remove an entry from the field. press the desired MIDI note or adjust the new controller/value. you’ll see all of Adobe Audition’s keyboard shortcuts for the Multitrack View. (The default channel is 1. Click on a command to highlight it. you can use the Ctrl. Num Lock. (The most notable exceptions are the Print Scrn. and then give it a shortcut (or edit its existing one) using the Shortcut Key and/or MIDI Trigger area of the Keyboard Shortcuts dialog. all of Adobe Audition’s keyboard shortcuts for the Edit View are displayed. Edit View If the Edit View button is depressed. Category Nearly every aspect of Adobe Audition can have a keyboard shortcut assigned to it – we’re talking a lot of shortcuts. Release the button to hide all Edit View shortcuts. Shortcut Key Use this section if you want to be able to execute the currently highlighted command from your computer’s keyboard. you’ll be notified here. along with any currently assigned shortcuts and MIDI triggers. Scroll Lock. . That’s why you’ll find the Category drop-down menu handy. Shift. which helps you quickly find the command or function to which you want to assign a shortcut. Many Adobe Audition users find single key shortcuts (such as “N” for Normalize) faster to use and easier to remember.

even though this format (like Windows WAV) can contain any one of a number of data formats.snd. Aliasing Noise that occurs from sampling a high frequency sound at a sample rate that is less than what is required to represent that frequency. A-Law A-Law (or CCITT standard G. and is found in European systems. or jack that enables you to connect two audio or video devices together. which is based on discrete samples. AIFF files support mono or stereo. and a wide range of sample rates. The ACM enables many Windows audio programs to compress and decompress files in a variety of formats. ActiveMovie See DirectX. etc. A-law encoded waveforms have a higher s/n ratio than 8-bit PCM. Amiga IFF-8SVX See IFF or SVX. . ACM formats are sometimes acquired when you install other software.10. A certain sampling rate can represent a frequency equal to half its rate (the Nyquist Frequency). The quality is higher than you would get with 4-bit ADPCM formats. AIF See AIFF. AIFF This is Apple’s standard wave file format. yielding a 4:1 compression ratio. There are different standards for measuring amplitude. Dialogic. with decibels (dB) being the most common. and versions from Microsoft. 8-bit Signed See SAM. while others are provided by third parties.aif or . Encoding and decoding are rather fast and generally widely supported. Adapter A passive cable. Extensions are . Amplitude Amplitude represents the loudness of a signal.353 Appendix B: Glossary 64-bit Doubles See DBL. Thus. There are many varieties of ADPCM. plug.711) is an audio compression scheme common in telephony applications. The AIFF format is a good choice for PC/Macintosh cross-platform compatibility. ADAT A digital 8-track tape deck manufactured by Alesis Corporation that has been very popular in recording studios. It is a slight variation of the u-Law compression format. ADPCM ADPCM (Adaptive Differential Pulse Code Modulation) is an audio compression scheme which compresses sound files from 16 bits to 4 bits. Analog Recording This is the recording of the ongoing changes of an audio waveform. but at the price of a bit more distortion than the original 16-bit audio. as opposed to digital recording. 16-bit or 8-bit. such as the IMA (Interactive Multimedia Association) DVI standard. A waveform’s amplitude is measured by its distance from the center line (which represents a 0 amplitude value). Adobe Audition only supports the PCM encoded portion of the data. This encoding format compresses original 16-bit audio down to 8 bits (for a 2:1 compression ratio) with a dynamic range of about 13 bits. Like Windows WAV. ACM The Microsoft ACM (Audio Compression Manager) is part of all 32-bit versions of Windows. The analog recording of audio is a continuous curve. such as DSP Group TrueSpeech and GSM 6. Some of these formats come as a standard part of Windows.

G. AU files can have either an . Basic Cues are used to mark important sections of the waveform for later reference (such as to remind yourself of an editing point). Attack The first part of the sound that you hear. this format can support mono or stereo. the loudest portion of the sound is reached very quickly. and has many data types.au or . such as to reduce volume or signal level. They’re also used to specify stop and start positions for the Adobe Audition’s Play List. etc. Basic Cue One of the four types of Adobe Audition Cues. such as a moved or deleted waveform. Some sounds (like pianos and drums) have a very fast attack. this is done with “automatic” volume and pan sliders that can be programmed to remember timing information and move themselves appropriately during playback. CHANNELS. and channels separated by a tab character. or new material recorded into a track. Audio File Format The method used for writing audio data to disk for storage is known as a File Format. Beat Cues are just like Basic Cues. with each sample separated by a carriage return. Adobe Audition supports many file formats. The BPM value defines the tempo of the musical selection. Background Mixing This is the process that Adobe Audition uses to combine waveforms for monitoring while in the multitrack environment.wav) is found most often in the Windows environment. Windows PCM (. 16-bit or 8-bit.721 ADPCM. but they’re specifically for marking musical beats. Band Pass Filter A filter or DSP effect that allows some audio frequencies to pass. A-Law. Beats Per Minute (BPM) The number of steady even pulses that occur in a piece of music every 60 seconds. The values for NORMALIZED are either TRUE or FALSE. then the data is assumed to be 16-bit signed decimal integers. Beat Cue One of the four types of Adobe Audition Cues. SAMPLERATE. AU is used quite extensively for distribution on the Internet. A sound with a slow attack rate (such as a soft string section) slowly increases in volume. compression.snd extension. a volume change. Automation is handled by Envelopes in Adobe Audition. The most common use for the AU file format is for compressing 16-bit data to 8-bit mu-law data. As its name implies. Like Windows WAV and AIFF files. and for inclusion in Java applications and applets. If there is no header text. The header is formatted as KEYWORD: value with the keywords being: SAMPLES. Adobe Audition supports the CCITT mu-Law. An optional header can be placed before the data. Some file formats may not be compatible with other systems. File formats can be chosen in File > Save As… Audition Loop See CEL. AU This format is the standard found on NeXT and Sun computers. The file extension is . but not others. background mixing occurs behind the scenes. and a wide range of sample rates when saved as linear PCM. and works much of the time to reflect changes to your session. BITSPERSAMPLE. and linear PCM data variants. Automation The process of making pan and volume changes in a mix that will happen every time the file plays back.354 ASCII Text Data Audio data can be read to or written from files in a standard text format. An update of the background mixing process can be seen in the Mix Gauge. which themselves support a variety of properties such as sample rate.txt. In many hardware mixers. . and NORMALIZED. Attenuate To make smaller.

BIOS routines are usually stored on hardware on the motherboard of a computer system (i. CD-R A CD-R is a blank. Bit Resolution (a. CD-R discs. and there are many more low-frequency components to the noise. initializing the hardware. CD-R can also refer to the computer drives that write. CD-RW A rewritable CD-R disc. The number of bits used to make up a word determines the bit resolution. When graphed. and launching the operating system. the wave follows a Brownian motion curve. which only has a 48 dB dynamic range. In the case of Adobe Audition’s Multitrack View. Burn Burning is the act of writing to a CD-R or CD-RW disc. Bus Effects Rack The Bus Effects Rack dialog is the initial dialog used for deciding which real-time effect(s) you wish to add to or remove from a bus. Brown Noise Brown noise has a spectral frequency of 1/f^2. Therefore. A block can be one of several data types: a wave block. in order to best represent the audio after transforms have been performed. the next sample in the waveform is equal to the previous sample.ADOBE AUDITION 355 User Guide BIOS Basic Input Output System. recordable compact disc that can be written to once.e. It’s best to remain at the 32-bit level while working in Adobe Audition. Bus Effects Configuration This dialog shows tabs for each effect on a given bus. Bit Depth) The number of bits used in measuring amplitude for a sample. Block A segment of audio in Adobe Audition’s Multitrack View that can be dragged separately.a. a bus lets you make a common connection between several tracks. A bit makes up a larger number. greater bit resolutions make for higher dynamic range. a CD-RW disk can be erased and written to again. Bus An electrical conductor that makes a common connection between several circuits. A CD-RW also typically holds at least 650 MB of data or 74 minutes of audio. such as the delay length. Some sound cards support resolutions greater than 16-bit. It’s where you actually set the properties for that effect. This means. Compact disc players have 16-bit resolution. that there’s much more low-end. which in turn determines the number of voltage levels possible in representing amplitude. or a video block. in English. when viewed. such as computers. It typically holds at least 650 MB of data or 74 minutes of audio.and waterfall-like sounds. a MIDI block. Choosing 8-bit resolution will provide 256 possible unique “volumes”. . stored in a ROM chip). Adobe Audition supports up to 32-bit sample rates. and convert down for output. a much greater dynamic range can be reproduced at 16-bit resolution than at 8-bit resolution. Brown noise is so called because. this waveform looks like a mountain range. while choosing 16-bit resolution will provide 65. That is. or burn. which results in a 96 dB signal-to-noise ratio. plus a small random amount. Obviously. but unlike a CD-R. which is used to represent the voltage level (amplitude) of an analog signal.536 possible unique volumes. This results in thunder.k. called a word. It’s the most basic system for controlling a PC. It’s the BIOS that handles the instructions for starting a computer. Bit Bits are part of the numbering system used in digital equipment..

like a metronome. Compressor Compressors reduce the dynamic range of an audio signal. or a range that specifies a selection. or for assembling in Adobe Audition’s Play List. a process known as clipping occurs. when Adobe Audition loads a . such as ACM modules (often called ACM CODECS). It’s in the nature of MP3 files that a very small amount of silence is added to the beginning and/or end of an MP3 file when it’s encoded. it’s generally an amplifier with two gain levels: the gain is unity for input signal levels below a certain threshold. solid bass line. The first is the loop info. which was common on analog tape.cel header.cel extension.100. The hardware responsible for converting a digital audio or video signal into an analog signal that can be played back. In the real world. QuickTime. but with a header that contains two important items. Compressors can also be useful in compensating for the wide variations in the level of a signal produced by a vocalist who moves frequently or has an erratic dynamic range. As it saves a . and 32. 256 in 8-bit audio). Clipping causes the signal to distort. You may define and save an unlimited number of cues in Adobe Audition’s Cue List for later recall. MPEG compressors. Crossfade Fade from one audio track to another. Clipping When the amplitude of a signal exceeds the maximum level for the available current conditions (for example. It does this by adding multiple delays with a medium amount of depth and a mild amount of feedback. Crosstalk Undesired leakage of audio from one track to another. They are often used at the beginning of a session as timing information for musicians. For example. AVI. Then. The . though. Click Track An audio track comprised of clicks that occur on the beat. and 48. If you experience clipping. and the combined A-D-DA modules on some soundcards. it reads this silence information and automatically removes the silence from the file so that it’ll loop smoothly.000 samples per second. and then removed from the session before production is complete. and less than unity for signals with levels above the threshold. It’s an abbreviation used often when speaking of multimedia compression modules. DAT (Digital Audio Tape) A standard two-track digital audio tape format. thus providing an even. Creative Sound Blaster See VOC.356 CEL Audition Loop files are essentially MP3 files with a . DAT tapes are sampled at 16 and 24 bits. This is impossible in Adobe Audition since each track is stored as a separate digital audio file. A cue can be either a point that specifies a cursor position. compressors can be used to eliminate the variations in the peaks of an electric bass signal by clamping them to a constant level. Cue List A list of time offsets. try lowering recording input or source output levels. . and appears in the display as a “chopping-off ” of the top of the waveform. (The latter is considered DAT quality). 44. CODEC Stands for Coder/Decoder.cel file also works to avoid a problem with MP3 files. DAC Digital to Analog Converter.cel file. just as it’s saved with a .000. Adobe Audition calculates how much silence is going to be added to the MP3 file and writes this information into the .cel file. Chorus A delay effect that simulates several voices. or locations defined within an audio file. When working with a loop.wav file and is set under View > Wave Properties > Loop Info. it’s enough to throw the entire loop off.

which means that direct current is introduced into the signal by the card. to compare sound pressure with a reference pressure). etc. Devices are selected in Options > Device Properties. Decibel (dB) In audio. Just as raw PCM has no header and is just audio data. a change in audio volume would actually alter the amplitude of a wave file. Dither Dithering is the process of adding small amounts of noise to a digital signal so that fainter audio (below the noise you add) can be heard that would otherwise be truncated away when converting from a higher bit rate to a lower one (e. Digital Signal Processing (DSP) The process of transforming a digital audio signal from one form to another via complex algorithms. DirectX DirectX (formerly ActiveMovie) is a development platform designed by Microsoft for 32-bit versions of Windows which provides an open standard for audio plug-ins. Device Devices are used to send data into and out of Adobe Audition. Adobe Audition offers a variety of Delay Effects such as Reverb. Examples include filtering or creating a sound-simulation effect. while MIDI devices are used to send performance and sync information to Adobe Audition and other MIDIenabled programs or hardware. A type of RAM. 0dBFS is the maximum possible amplitude value (as in 256 for 8-bit audio). Chorus. or can refer to. and are used for the recording and playback of audio material. In digital audio. so that the original audio data itself changes. Many areas of Adobe Audition refer to. DBL The 64-bit doubles wave format (.ADOBE AUDITION 357 User Guide DC Offset Many sound cards record with a slight DC offset. a decibel (dB) is a logarithmic unit of measurement used for amplitude (specifically. Dialogic ADPCM See VOX. This includes both Wave and MIDI devices.dbl) is 8-byte doubles in binary form–8 bytes per sample mono. Delay A time-shifted signal which can be mixed with the original. DSP modules and other audio tools based on this standard can be used by any application that supports the ActiveMovie/DirectX architecture (such as Adobe Audition). DMA Direct Memory Access. DIMM Dual Inline Memory Module. In Adobe Audition even “destructive” edits are not applied directly to the wave file in use until you save the file.g. so does 64-bit doubles format. paste. or 16 bytes per sample stereo interleaved. non-delayed signal to give it a fuller sound or to create echo effects. DiamondWare Digitized See DWD. For example. and Echo. unlike nondestructive editing. you can choose the DC Bias Adjust setting in Effects > Amplitude > Amplify.. The value in dBFS does not relate directly to the original absolute sound pressure level of the audio measured in dB. To compensate for DC Offset. Wave devices generally take the shape of sound card Inputs and Outputs. Destructive Editing Destructive editing means simply that edits (cut. such as a reverb or echo. in destructive editing.) and changes are applied to the wave file itself. . effects. Hardware that uses DMAs can pass data much more quickly. and can cause a click or pop to be played at the beginning and the end of the file. This is seen as the waveform being “shifted” above or below the center line in the Wave Display. DMA addresses can not be shared between multiple devices. converting 24-bit to 16-bit). A method of transferring data directly from memory to a device without passing through the CPU. amplitude in decibels. causing the center of the waveform to be off from the zero point in the waveform display.

A sound’s frequency determines its pitch. a programmer’s library that lets you quickly and easily add high-quality interactive audio to games and multimedia applications. It supports both mono and stereo files at a variety of resolutions and sample rates. An expander can also be considered an amplifier with two gain levels: the gain is unity for input signal levels above a certain threshold. DVI See IMA ADPCM. Fourier Theory Fourier Theory states that any waveform can be made up of an infinite sum of sin and cos functions. Equalization (EQ) Equalization is the process of increasing or decreasing the amplitude of audio signals at a specific frequency band relative to the signals at other audio frequencies. eventually returning to the starting point. the audio is at full volume. and represent the pan.358 Dry Used to describe an audio signal without any signal processing (such as reverb). deleted. Adobe Audition’s Flanger effect can be found in Effects > Delay Effects. Flushing sometimes occurs when a modified waveform is saved on top of its original file. when the volume envelope is at the top of the wave block. . Expander Expanders are used to expand the dynamic range of an audio signal. and less than unity for signals with levels below the threshold. Audio stored on DVD movies is generally 96 kHz/24-bit. Hertz (Hz) This is a unit of measurement used to measure the frequency of a sound. a sound’s Frequency is the rate at which it vibrates. Flange An interesting audio effect caused by mixing an approximately even amount of a varying short delay with the original signal. Echo A distinct repetition of a sound. Flushing The process Adobe Audition performs when it copies the audio data from a waveform file to Adobe Audition’s temp folder so that the original file can be closed. Adobe Audition offers two Echo Effects (Echo and Echo Chamber). it’s at zero volume. and when it is at the bottom. An expander boosts the highlevel signals and attenuates low-level signals. Volume. (They are basically the opposite of a compressor). By using Fourier Theory. the opposite of Wet. Envelopes Adobe Audition uses several types of envelopes (Pan. each with several settings. A storage medium similar to Compact Disc (CD). A cycle consists of movement from a starting point (0) through both positive and negative amplitudes. DVD Digital Video (or Versatile) Disc. Fast Fourier Transform An algorithm based on Fourier Theory that Adobe Audition uses to perform its filtering functions. but with much higher bandwidth and storage capabilities. as well as Spectral View and Frequency Analysis functions. Hertz are equal to cycles per second. or opened exclusively by another application. and FX Parameter) for mix automation. Wet/Dry. DWD This is the audio format used by DiamondWare’s Sound Toolkit. waveforms can be quickly analyzed for their frequency and amplitude content. This allows the file to be renamed. For instance. due to the sound reflecting off a surface. and/or FX parameter settings at any point along the track. Frequency Measured in Hertz (Hz). The envelopes can be drawn directly on the blocks in the Multitrack view. or its cycles per second. wet/dry. FX An abbreviation for the word effects. DSP See Digital Signal Processing. volume.

This compression scheme can be a good alternative to MPEG. As with Microsoft ADPCM. it’s best to save to this format from 16-bit rather than 8-bit. and it degrades sample quality only slightly. The clip indicator to the right of the meters will light up. and has different distortion characteristics. and are used to monitor the volumes of incoming and outgoing signals. IMA ADCPM The International Multimedia Association (IMA) flavor of ADPCM compresses 16-bit data to 4 bits/sample (4:1) using a different (faster) method than Microsoft ADPCM. and each echo at half the volume of the previous one. you may have a drum hit which occurs 30 times within a session. Keep in mind that because Images represent the same file. then the result of convolution with some audio will be that sound echoed with 100ms between each echo. such as the final error correction stage in the playing of CD audio. this consumes disk space. For example. Should the tick be at half volume. but rather acts as a shortcut. then the convolution of that impulse with any audio data would just be that audio data itself. the right.) Also. if the impulse is a single sample of a full volume “tick”. Interpolate To estimate the values of data points between known data points. If there are several ticks (such as one tick every 100 milliseconds). Images are simply pointers which. and remain lit. and the bottom. the time between the track marker that begins a track and the first index in that track will show up on the player as “negative time”. with each being half as loud as the previous tick. when encountered in a session. when levels exceed the maximum of 0dB. direct Adobe Audition to the same sound file on disk. If these 30 instances are entered in the session as Images. A variety of sample rates are supported. or transform) will affect all instances of the Image in the session.svx) is an 8-bit mono format from the Commodore Amiga computer. but will allow for separate editing. any alteration to one Image (like a cut. (Some CD players offer controls for cueing indexes. Impulses are like “amplitude maps”. it provides reasonably fast decoding of 4:1 compression. the top meter represents the left channel.ADOBE AUDITION 359 User Guide IDE Integrated Drive Electronics.iff or . As an alternative. which can give better or worse results depending on the sample being compressed. Indexes are markers within a CD track. Interpolation is used in functions where new data must be generated from known data to fill in areas where values are unknown. Level (or VU) Meters Adobe Audition’s Level Meters are found by default along the bottom of the main window. a copy of a block will create a separate sound file on disk. The files produced using this format have an extension of . Impulse An impulse is the data by which every other sample in your waveform will be multiplied when using the Convolution effect (Effects > Special > Convolution). . A type of hard drive and CD-ROM interface that’s the most common interface (as opposed to SCSI) in PCs. descending in amplitude over time. Image An Image is a block in the multitrack environment that does not singly represent a sound file. IFF The Amiga 8SVX format (which can have an extension of . the disk space required for the drum hits amounts to the same as for one instance. When displaying stereo audio or in a multitrack session. Index Cue One of the four types of Adobe Audition Cues. For example.wav. then the original audio data will be reproduced at half volume. Clicking on the clipping indicator at any time will reset it.

000 milliseconds in a second. Beyond this level. as the quality will be much greater. which is done when you’re happy with the way your session sounds. Mixdown is generally the final operation. plus you can transmit MIDI information into and out of your computer to and from external devices (such as a MIDI Keyboard) through the MIDI Port of a sound card.wav. which is an audio signal. This performance information can take the simple shape of a note instruction. regardless of their original resolution. and everything else to another pair of outputs). Submixes are useful for cleaning up your workspace. There are many looping functions in Adobe Audition. MIDI Time Code (MTC) MIDI Time Code (MTC) is a method of sending timing information between MIDI-capable devices. which is determined by the threshold setting. Millisecond (ms) One thousandth of a second. MIDI events can be sent from a MIDI keyboard. These types of mixes are often referred to as submixes. MIDI Trigger A MIDI Trigger is simply a shortcut which can be called via a MIDI event (such as a Note On or Pitch Wheel). Output is generally in the form of a stereo pair of channels (a right and a left). which are mixes of selected tracks (such as all of the drums). such as Loop Duplicate or loop “painting” in the multitrack environment for looping waveform blocks. which provides 4:1 compression. Files saved in this format will automatically be expanded to 16 bits when loaded. . If you insert a file that has loop information in its header. a limiter only allows the dynamic range at its input to increase up to a certain point. can be converted to MTC to sync to and control Adobe Audition’s transport from a device such as a VTR or tape deck. or it can transmit detailed information on things such as timing or sound patch data. A Mixdown can also be used to create submixes. Windows provides a way of transmitting MIDI information internally between programs. Mixing Mixing is the process of combining multiple audio sources (or tracks) together for output as a single source. it’s best to save to this format from a 16-bit waveform rather than 8-bit. and is a way of communicating performance information from one piece of software or hardware to another. or other MIDI Interface device. the output level remains relatively constant and does not increase in volume. SMPTE. Mixdown Mixdown is the process of combining the output of all enabled tracks (or selected tracks) in Multitrack View into a new stereo waveform. (There are 1. just grab the bottom right corner of the block and drag to loop it over time.360 Limiter Limiters reduce or “limit” input signals that exceed a specified threshold level so that the output does not increase in gain beyond that point. sometimes known as minijacks.) Miniplug A common name for 1/8-inch plugs and jacks. When doing a Mixdown. as the input continues to increase in gain. MIDI MIDI stands for Musical Instrument Digital Interface. or any other device capable of issuing a MIDI command. Loop With regard to waveform material. though mixes may be directed to more than two channels for output (as in drums to one set of outputs. Microsoft ADPCM The Microsoft ADPCM format consists of 4-bits-per-channel compressed data. a Loop is simply the repeating of a certain range. track properties such as Volume and Pan are reflected in the resulting waveform. Miniplug jacks are the most common interface for a sound card’s analog inputs and outputs. The file extension is . For instance. either indefinitely or for a certain number of repetitions. a sequencer. For this reason. In other words.

A noise gate is often used to totally cut off the signal level during a musical pause so as not to pass background noise. Each time something changes in a session that alters the way it will play back. Noise Gate A Noise Gate is a special type of expander that can be used to reduce or eliminate noise below a threshold level.100 Hz audio is 22. this bar will “empty” and fill back up as the mix is re-processed. This encoding format compresses original 16-bit audio down to 8 bits (for a 2:1 compression ratio) with a dynamic range of about 13 bits. If not filtered out. the Nyquist Frequency for 44.ADOBE AUDITION 361 User Guide Mix Gauge The Mix Gauge is found beneath the Track Console in the Multitrack View. thereby raising or lowering all other peaks accordingly. so there’s no need to purchase an MP3 plug-in. For example. Encoding and decoding is rather fast and generally widely supported. The quality is higher than you would get with 4-bit ADPCM formats. In nearly all analog-to-digital converters. It can also be used to silence the pauses in speech. The Adobe Audition Multitrack View is a nondestructive editing environment. Normalize Normalization adjusts the highest peak of the waveform to a certain percentage. This frequency designates the highest reproducible frequency for that sample rate. The bar becomes a bright color when fully mixed. Mono Mono (derived from “Monophonic”) means that there’s only a single sound source. this is 100%. which is then acted out upon playback. but would be an instruction to “get louder at this point”. Adobe Audition has MP3 support built in. the more complete the mix of your session. in nondestructive editing. MPEG A set of audio and video compression schemes created by the Motion Picture Experts Group. You don’t need to wait for the Mix Gauge to completely fill up before playing the session. frequencies above the Nyquist Frequency would produce aliasing distortion. It does this by heavily attenuating signals with levels that fall below the threshold. frequencies that exceed the Nyquist Frequency are filtered out before reaching the actual analog-to-digital conversion process using analog bandpass circuitry. Thus. you would need to select a sample rate of at least 22 kHz. mu-Law is very similar to A-Law. . For example. The further this bar progresses to the right. a variation of mu-Law found in European systems. In most cases. Nondestructive Editing Nondestructive edits and changes are those which don’t alter the sound file on disk in any way. It’s an indicator of the amount of background mixing that Adobe Audition has completed.050 Hz. but Adobe Audition allows you to normalize a waveform to any percentage. A subset of the MPEG standard invented by the Fraunhofer institute that has become very popular due to the very high compression ratios (10 to 1 or better) with little audible loss. MP3 MPEG Layer 3. in order to reproduce a signal with an 11 kHz frequency range. or the signal came from a single sound source. It’s best to record at higher sample rates and convert down if needed.711) is an audio compression scheme and international standard in telephony applications. Nyquist Frequency The Nyquist Frequency (also called Nyquist Rate) is one-half of the current sampling rate. Thus. a volume change would not actually alter the amplitude of the waveform. but at the price of a bit more distortion than the original 16-bit audio. mu-Law mu-Law (or CCITT standard G. mu-Law encoded waveforms have a higher s/n ratio than 8-bit PCM. Noise Shaping This technique is used to shift the frequency of dithering noise to minimize its audibility in the wave file.

However. PCM is the standard method of digitally encoding audio. Punching is usually used to replace an undesirable section within a longer audio segment. PCM Pulse Code Modulation. Adobe Audition saves the Play List in the . it cycles through from its maximum to minimum amplitude. Preview Many functions in Adobe Audition support real-time Preview. The Preview quality is dependent upon your system’s performance. but pink was more appealing). When you hear two sounds simultaneously.pk that enable Adobe Audition to load. Peak Files Peak Files are files with the extension . except at a lower amplitude. Preset Most functions in Adobe Audition supports Presets.wav and Apple AIFF. keep in mind that without Peak Files. Punch In is only available in the multitrack environment. which seamlessly integrate into Adobe Audition’s interface. Play List The Play List is an arrangement of Cue List entries that you can play back in any order and loop a specified number of times in nondestructive fashion. and other natural sounds. Phase As a wave vibrates. Functions that support Presets will have a list where you can click on a Preset name to recall the settings. and redraw audio files more quickly than it could do without them. When zoomed in. A Preset is a group of function settings saved under a particular name for later recall. or turn their creation off altogether in the Display tab of Options > Settings. waterfalls. Pink Noise Pink noise has a spectral frequency of 1/f and is found mostly in nature. wind. a rushing river. It’s the basic uncompressed data format used in file types such as Windows . Pink noise falls exactly between brown and white noise (which is why some people used to call it tan noise. Punch In Punch In is a recording method used to record “into” a certain region of an existing waveform. Activate it by pressing the F9 key or by selecting View > Show Organizer Window. The Organizer Window isn’t shown by default. Adobe Audition allows for multiple “takes” when Punching In. or return to the original data.362 Organizer Window The part of the Adobe Audition interface that lets you see a tabbed list of open files. and favorites. effects. Portion Bar Vertical and horizontal bars that are used for zooming and scrolling in both Edit and Multitrack Views. Adobe Audition supports third-party DirectX audio Plug-ins. These two waves are said to be out of phase. the pattern looks identical to the way it appears when zoomed out. Their name comes from their ability to allow you to see just a portion of the current waveform or session. For example. . larger audio files will take longer to reload. Plug-in A Plug-in is a software component that can be added to another piece of software to increase its functionality. It’s the most natural sounding of the noises. Pink noise has a fractal-like nature when viewed. and then back to its maximum. you can continually record over the original material and afterward choose between the takes for the best performance. Two sounds will cancel each other out when one’s high points coincide with the other’s low points. By equalizing pink noise. as well as a way for removing unwanted ones. Those that offer Preview will have a Preview button in the function’s dialog. The phase is the position of the wave on this cycle. which means that changes to the function settings may be monitored while they’re being made. You can safely delete Peak Files. their amplitudes are summed together to form the total sound we hear.wav file format header. you can simulate rainfall. from within the function dialog. save. as well as an area for creating and naming new Presets.

but the actual sample rate can be changed once the file is loaded using Edit > Convert Sample Type. each with many settings. the Vertical Ruler measures sample values. and CD-RW drives support digital audio extraction. 8-bit signed raw format data with the .ADOBE AUDITION 363 User Guide Quantization Quantization takes place as a part of the analog to digital conversion process as the values of an analog wave are turned into steps. (Reverb is a shortened version of the word Reverberation. CD frames. as there is always some amount of processing done). In the Edit View. This is what you refer to when you say that your computer has 128 megabytes of memory. and Full Reverb). information in ROM stays when the computer is turned off. there is no “wait time” for processing to occur.) Many discrete echoes arrive at the ear so closely spaced in time that the ear can’t separate them. Unlike RAM. use the Vertical Ruler to scroll through tracks. RAM Random Access Memory. like receivers. Most newer CD-ROM. RCA Cable This type of cable (sometimes called a phono cable) features RCA plugs or jacks at either end. Ruler The numbered controls to the right and below the Wave and Session displays. as well as to control the number of tracks displayed on-screen at once. The sample rate is assumed to be 22050Hz. or percentage. RCA cables are normally used to connect stereo system components. Memory that cannot be written to after it is constructed. Resample To recalculate a sound file’s samples using a different rate than which the file was originally recorded. This noise is heard more often in sounds recorded at low bit resolutions. ROM Read Only Memory. The memory required to load and run programs. In Multitrack View. Most computers have a small amount of ROM that holds software required to boot the computer. and includes scrolling and zooming functionality. Adobe Audition offers three Reverb Effects (Quick Verb. Rip Ripping is the process of digitally extracting the audio from a compact disc and turning it into a waveform that’s usually an identical copy of the original CD track(s). normalized values. Reverb. but rather things are seemingly done in an instantaneous fashion (though this is never really the case when dealing with digital audio. SAM The 8-bit signed wave file format (. Reverb The persistence of a sound after its source has stopped emitting it. . and bars and beats in both Edit and Multitrack Views. Real-Time In computer-based audio. since audio in MOD files is 8-bit signed. CD players.sam extension is assumed to be 8-bit signed raw data with no header. Quantization Noise naturally occurs during this time. or exported to files in this format. S/N Ratio Signal-to-Noise Ratio (S/N Ratio) is the difference in level between the average signal level and the average level of the noise floor. and a Real-Time preview of effects before they are applied in the Edit View. samples. The Horizontal Ruler can measure time. decibels. time code. Adobe Audition provides Real-Time effects functionality with most of its effects in the Multitrack View. CD-R. caused by sample levels being changed to conform to standard Quantization levels. Many MOD editors allow samples to be inserted from files. and cassette decks. on demand. especially at lower amplitude. or react. Real-Time generally refers to an operation or function’s ability to act. That is.sam) is popular for building MOD files.

or any other device capable of issuing a MIDI command. and contains the details of the project. An example of this would be assigning the Play command in Adobe Audition to the C4 note on your MIDI keyboard. In Adobe Audition. SND Waves with this file extension are usually Apple AIFF or Next/Sun files. It allows for multiple devices to be daisy-chained to the same controller. you can execute commands from a MIDI keyboard. a number of snapshots. such as samples.smp extension are used by Turtle Beach’s SampleVision program. SCSI Small Computer Systems Interface. a sample rate of at least 20Khz must be chosen. . among other things. but at the expense of requiring more disk space. A sample is a single snapshot of the sound. instead of using your mouse to go to the Edit menu and selecting Cut to remove the highlighted portion of a waveform. minutes. to reproduce a frequency of 10Khz. seconds. a sequencer. or samples. and envelope information. and rests. SMP format also supports loop points. A Session is stored as a file on your hard disk with the extension . The term sample can also refer to the digitally recorded sound itself. are taken every second (this number is a product of the sampling rate used) and are changed into numeric representations.) Sampler A device that records and plays digital sounds (samples) many times with features to edit and store the samples. Session files don’t actually store the audio data in them.364 Sample In digital audio. So. though this nomenclature tends to be used more when referring to digitized sounds used by hardware samplers than in computer-based audio editing. SMPTE Time Code SMPTE (Society of Motion Picture and Television Engineers) time code is a timing reference used to synchronize two devices to the same clock. If your data is in a different format. (See Nyquist Frequency. This type of Shortcut is referred to as a MIDI Trigger. you’ll be asked to convert it before saving. as in traditional recording. See AIFF or AU. Higher sample rates produce higher-resolution audio. instead they point Adobe Audition to where it can find and load the sound files used in the project. To digitize a sound. The format supports only mono 16-bit audio. such as what tracks contain what audio files. Session A Session in Adobe Audition is a multitrack project. if you will. you can simply press Ctrl+X. SMP Audio files with an . Sample Rate The sample rate determines the number of times per second to take a snapshot of the audio. Shortcut Shortcuts are used to speed up the editing process by allowing you to execute almost any command in Adobe Audition from your computer keyboard. and for very fast data transmission. pitches. SCSI is a standard for attaching components (such as hard drives and CD-ROMs) to a computer. The Start Offset determines when playback and recording will trigger while Adobe Audition is syncing to SMPTE time code. Session Display The workspace where audio data shows up and can be manipulated in Adobe Audition’s Multitrack View. volume levels. “session” can refer to the project itself (as in “your session”) or to the act of working on the project (as in “during your session”). For example. and frames. Pronounced “skuzzy”. which can be edited using Adobe Audition’s Cue List. SMPTE time is broken down into hours. a signal isn’t captured in a complete continuous fashion. SMPTE Start Offset The offset to the start of a multitrack session. Sequencer A programmable electronic device which can play a stepped order (sequence) of musical events. Frequencies of up to one-half the sample rate can be produced effectively.ses. Actually.

pan.svx) is an 8-bit mono format from the Commodore Amiga computer. Vocoder An Adobe Audition Multitrack Effect that will modulate one signal with another. EQ. Track Cue One of the four types of Adobe Audition Cues. turn it up to a different level. track name. The newer type of . Tracks are found in the Session Display of the Multitrack View. It’s where you actually set the properties for that effect. There you’ll find controls for viewing and altering track properties such as pan. Adobe Audition supports both old and new style . The older . The SMPTE is then used to reference time on the other tracks for purposes of syncing those tracks to other devices.voc file supports both 8-bit and 16-bit audio.voc format only supports 8-bit files. They indicate a split in tracks for an audio compact disc. Stripe To copy SMPTE time code to a single track of a multitrack tape. Tempo Tempo is the rate at which music moves. and can be configured with its own volume. they’ll be expanded while loading. and stereo up to 22 kHz.voc files. SVX The Amiga 8SVX format (which can have an extension of . Stereo The reproduction or recording of two of more channels. such as the delay length. and level. Track Effects This term refers to Adobe Audition’s non-bus real-time effects. Time Code An audio or digital signal designed to synchronize time between multiple devices. Track Controls The Track Controls appear to the left of Adobe Audition’s Multitrack View’s Session Window.1 kHz. The most common forms are SMPTE and MIDI time code. Track Tracks in Adobe Audition are where audio is positioned and arranged in a session. A track can contain one or more blocks. VOC files can contain information for looping and silence. and pass that as its unity gain. TXT See ASCII Text Data. normally measured in BPM (Beats Per Minute). Track Effects Configuration This dialog shows tabs for each effect on a given track. adding real-time effects. Mono files can have a sample rate of up to 44. If the file you’re loading contains loops and silence blocks.ADOBE AUDITION 365 User Guide Sound Card A device in your PC that allows your computer to play and record audio. Because there are different line levels (-10 dBV and +4 dBu being the most common). effects. and adjusting the input/output routing (sound card assignment) of each track. assigning multiple tracks to a bus.iff or . and input/output assignments. a device could take a voltage of one level. EQ. Track Effects Rack The Track Effects Rack dialog is the initial dialog used for deciding which real-time effect(s) you wish to add to or remove from a track. They are accessed through the Track Effects Rack dialog. and each session can have up to 128 tracks. Unity Gain When a device is set to Unity Gain. . VOC This is the Sound Blaster and Sound Blaster Pro voice file format. A variety of sample rates are supported. where the position of discrete left and right sounds can be determined. it means its output will be at its specified line level.

In other words. and has been optimized for low sample rate voice.vox will be assumed to be in this format. However. Because the human ear is more susceptible to high frequencies. WAV files contain PCM coded audio – which is pure. etc. WAV Files with the .mp3 file. Wave Display The Wave Display is the part of Adobe Audition’s Edit View in which you view and manipulate audio data. Adobe Audition also supports compressed variations of . but a Wave File could very well be an . and is being used in an acoustical sense.au. the opposite of Dry. Wave File The term Wave File usually refers to any audio file format which contains soundwave data. You can right-click on a Waveform Block for a menu containing editing commands. Adobe Audition generates white noise by choosing random values for each sample. or double click on it to “jump into” its source in the Edit View. White Noise White noise has a spectral frequency of 1. DVI/IMA ADPCM. ACM. and Microsoft ADPCM. Waveform Block Any waveform entry in the Multitrack environment. the term usage is referencing sound waves. so any file format with the extension .wav extension. It will only save mono 16-bit audio. Zero Crossing A place in time where the wave crosses the zero amplitude line. equal proportions of all frequencies are present. Wet Used to describe an audio signal that has had signal processing (such as reverb) applied. By placing edit points at zero-crossing points. and like other ADPCM formats. Waveform The term Waveform is used to describe the visual representation of a signal (amplitude over time) displayed in Adobe Audition. This format has no header.366 VOX The Dialogic ADPCM format is commonly found in telephony applications.wav extension typically are Microsoft Windows uncompressed PCM audio files. Windows users sometimes just think of a Wave File as an audio file with the . a spliced section of another Waveform Block. but it can be displayed as spectral data by choosing the View > Spectral View option. In this case. uncompressed Pulse Code Modulation formatted data. as in “listen to the waveform”. . Waveform can also be used to refer to the signal itself. an Image (a pointer to another waveform block). mu-Law. or . Any edits made to a Waveform Block are nondestructive in nature. Windows WAV The Microsoft Windows WAV format supports both mono and stereo files at a variety of resolutions and sample rates. It follows the RIFF (Resource Information File Format) specification. . it compresses to 4 bits/sample (for a 4:1 ratio). white noise sounds very hissy. By default this audio material is in the shape of a waveform. and allows for extra user information to be embedded and saved with the wave file. it’s much less likely that the edit will create a pop or click after the edit since there won’t be a sudden jump in amplitude after the edit.wav files such as A-Law.aif. A Waveform Block may be an actual represen- tation of a waveform. a copy of another waveform.

enable 283 Blocks about 241 Auto-scroll during playback and recording 215 Average Left & Right 119 Average RMS Power 201 . 291 Analysis Wave 318 Analyze Loudness tab 70 Append to Session 274 Apple AIFF 30 Arm Track for Record command 251 Artist field 92 ASCII Text Data 31 ASPI/SPTI 50 AU 34 Audio files. inserting 242 Audio from Video File 316 Audio is defined as 65 Audition Effect 204 Audition Loop 31 Auto Play 47 Auto Play button 18 Auto Zero-Cross Edits 227 Auto-convert all data to 32-bit upon opening 222 Auto-convert settings for Paste 223 Auto-Cue 68 Auto-Play button 82 Auto-play on command-line load 215 B Background mixing 8 Background Mixing Priority 225 Band Limiting tab 107 Band Pass 145 Bars and Beats 86 Base Frequency 193 Basic cue 81 Batch button 83 Batch File Convert 53 Batch Process 212 Batch Processing 209 Batch Run 210 Beat cue 81 Beat Splice 93 Beat Splices 260 Beats per Bar 87 Beats per Minute 87 Beats/Bar 299 Beats/bar 284. moving files to and from 9 Agency field 91 AIF 30 AIFF 30 A-Law 34 Align Left 311 Align Right 311 All Waves 305 Allow for partially processed data 224 Allow Multiple Takes 301 Allpass Feedback 136 Amiga IFF-8SVX 30 Amplification 98 Amplify 97 Amplitude 97. 33 Advanced Session Properties 284. 311 Adjust for DC 24 Adjust Sample Rate 73 Adjust to zero-DC when recording 231 Adjust Wave Pan 302 Adjust Wave Volume 302 ADPCM 32. 296 Advertiser field 91 Affect Level 323 After Effects.367 Index Numerics 64-bit doubles (RAW) 29 8-bit signed 29 A A/mu-Law Wave 29 Account Executive field 91 Account for DC 202 Accuracy 151 ACM Waveform 30 Active Track 304 Actual Bit Depth 201 Add cue button 82 Adjust Boundaries 267. 297 Beats/minute 297 Binaural Auto-Panner 100 Bit Rate 293 Block Color 306 Block Color option 264 Block Context Menu 258 Block Edge Dragging. 190 Amplitude sliders 133.

309 Convolution 175 Copy 62 Copy to New 42. 312 D Damping factors 127 Damping Frequency 128 Data tab 222 Data Under Cursor option 27 DC Bias Adjust 99. 138 Decibels 88 Decibels Format 112 Decimal (mm ss ddd) 86 Default Selection Range 216 Default Session 279 Defaults 226 Define Custom Frames 88 Delay 120 Delay Effects 116 . 64 Correct for Drift in Recordings 227 Correct for Start Sync in Recordings 227 Creation Date field 90. 91 Creative Sound Blaster 32 Crossfade 64. edit 82 Cue List. 75.368 INDEX adjusting hue 262 adjusting panning of 261 adjusting volume of 260 destroy 268. show 80. 75 Convert to Unique Copy 266. 76 Check For Hidden Blocks 314 Choose Files tab 70 Chorus characteristics 117 Chorus effect 116 Clear Clip Indicators 24 Click/Pop Eliminator 161 Clip Restoration 166 Clipboards 62 Clipping Statistics 167 Clock Drift Correction Time 228 Close 51 Close All Waves and Session 51 Close File button 17 Close Only Non-Session Waveforms 51. 312 editing 241 moving 241 remove 312 removing 268 select all 312 Boost 137 Boost Input by 111 Boundaries. 265. adjust 311 Break Time 190 Brown noise 191 Buffer Size 50 Bus 293 Bus button 286 Bus faders 290 Bus Mixer tab 289 Bus Properties 287 Busses 286 about 269 assigning tracks to 269 C Calculate Normalization Values 99 Cancel Last Operation 58 Category 352 Category field 91 CCITT 30 CCITT mu-Law 34 CCITT standard G. 307 Crossfade Time 226 Cue Handle context menu 81 Cue Info. 275 Close Session 275 Close Session and Waveforms 275 Colors tab 218 Column bar 82 Comments field 90. displaying 241 Conversion Properties 277 Convert Sample Rate 277 Convert Sample Type 54. 84.711 29 CD Speed 50 CEL 31 Center Channel Level slider 333 Change Cue Type 82 Change Destination Format 54 Channel Mixer 102 Channel order 338 Channels 45. 92 Compact Disc 75 fps 86 Config button 289 Conflicting Keys 352 Context Menus. 112 DC Offset 194. 293 Cues and Ranges 81 Current Effects Rack 288 Currently Open Waveform List 316 Cursor At 298 Custom 190 Custom frames 86 Custom Time Code Display 215 Customer support 1 Customize Metronome Time Signature 298 Cut 62. 200 Decay 124.

216 Envelope Editing. 269 EQ 293 EQ A and B buttons 246 EQ button 286 EQ-Loud 71 Equalization fields 289 Equalizer. 328 Device(s) 49. edit 203 Feedback 118. 295 Display Title field 90 Distortion 178 Dither 76 Dither amount for saving 32-bit data to 16-bit files 224 Dither Depth 77 Dither Transform Results 223 Dithering Options 226 Dockable Windows 14. Track 254 Equal-power Sine 226 Equal-power Sinusoidal 297 Error Correction 51 Execute Relative to Cursor 210 Exit 59. about 270 Effects Settings command 252 Encoded and Exported files. 52 File name 274. 129. Multitap 135 Delete 82 Delete Clipboard files on exit 218 Delete old takes after merging 226 Delete Selection 65 Delete Silence 65 Delete This Take 302 Demodulate 194 Depth 142 Destination 56 Destroy Blocks (remove & close) 312 Destructive and Non-Destructive Editing 7 Destructive editing 7 Detect 163 Detect Big Pops 164 Device Order 232. 278 File/Cue List 316 File/Cue List command 250 Filename Prefix 83 Filename/Path 303 . 220 Don’t ask for further details 47 Doppler Shifter 181 Downsampling quality level 223 Drop-down Menus 16 Dry Out 119 DTMF Signals 189. 328 Device Properties 229. enable 283 Envelope Follower 317 Envelopes 109. opening 343 End Date field 91 Engineers field 90 Entire Wave 65. 276. 190 DVI/IMA ADPCM 33 DWD 32 Dynamic Delay 121 Dynamic EQ 144 Dynamic Peaks option 25 Dynamics Processing 103 E EBU Extensions tab 93 Echo 123 Echo Chamber 125 Edit Cue Info button 82 Edit Favorites 19. 136 Feedback Graph 123 FFT Filter 146 File Info tab 96 File Name 47. 280 Expand/Collapse arrows 290 Export options 339 Ext. about 37 Edit Waveform 258. 286 Dial String 190 Dialogic ADPCM 32 DiamondWare Digitized 32 Digitization Source field 90 Digitizer field 90 DirectX 143 Disable Undo 213 Display In Edit View button 18 Display tab 220 Display Time Format 86. 301 Effects 293 Effects Pane 18 Effects Rack. 249. 203 Edit Sample Directly option 43 Edit Script File 211 Edit Tempo 87 Edit View 11 Edit View button 352 Edit View Right-Clicks 215 Edit View.ADOBE AUDITION 369 User Guide Delay. Controller tab 232 Extend Selection 216 Extract 87 Extract Audio From CD 48 Extract Audio from Video 48 Extract from Selection 87 F Fast Forward button 23 Favorites Pane 19 Favorites.

show 294 Lock button 245. 293 Lock for Play Only 267. show 85.8 float 222 Intro Time field 91 Inverse 192 Invert 97 K Key 93. 91. 214. 296 Generate Tones 192 Generic Win32 50 Genre field 90. 304. 248 Horizontal Ruler 40. 313 Inserting audio files 242 Interface Options 50 Interpret 32-bit PCM . 92 Get 32-bit Audio using 231 Getting Help 1 Go to Beginning button 23 Go To Cue List 82 Go to End button 23 Graph Controls 21 Graphic Equalizer 150 Graphic Phase Shifter 151 Group Blocks 263. 304. 159 Highlight after Paste 216 Hiss Reduction 167 Hold buttons 195 Horizontal Portion Bar 39.721 ADPCM 34 General tab 200. 92 Filters 144 Final Amplification 99 Final Mix Delay 129 Find Beats 67 Find Levels button 66. 294 Limit Continuous Silence to 66 Limit Playback to 229 Linear Energy Plot 221 Linear Fades 99 Linear PCM 34 Live update during recording 215 Load Meter. 279 Frequency Analysis. 310 Lock in Time 267.wav files as 16. 288. about 240 Independent Channels 191 Index cue 81 Initial Amplification 99 Input Button 245 Input Gain 107 Insert Cue(s) 84 Insert in Multitrack 64 Insert Into Multitrack 17. 99 . 42 Insert menu 250 Insert Play List in Multitrack 64 Insert/Delete Time 257.370 INDEX Files 53 Files Pane 17 Fill * Fields Automatically 90. 249 Hue 303 I IFF 30 Images. 306 Group Real-Time Effects 19 Group Waveform Normalize 69. 310 Lock Left/Right 63. 313 H Hard Limiting 110 Help tab 205 High Frequency Absorption Time 140 High Pass 145. 68 Find using Analysis button 95 Fine Tune 95 Fixed Length 93 Flanger 128 Flavor 194 Flush Virtual File 57 Force complete flush 218 Format. show 195 Frequency Band Splitter 320 Full option 268 Full Paths button 18 Full re-sync when shuttling 228 Full Reverb 130 Function tab 204 FX button 245. new 55 Free Up Space 57. show 282 FX/No FX buttons 288 G G. 286 FX Parameter Envelopes. 306 Group By Category 19 Group Color 263. 284 Key for Voiced Loops 296 Key Words field 90 Keyboard Modifiers option 28 Keyboard Shortcuts dialog 351 L L/R Cut (log) 226 L/R Cut Log 297 Lag Time 228 Lead Time 228 Left/Right buttons 201 Level Meters 23 Level Meters.

white 191 Non-destructive editing 7 Normalization Values. 325 Mouse Wheel 215 MP3 34 mp3Pro 34 MRU List 59. calculate 99 Normalize 72. 274. elements of 329 Multitap Delay 135 Multitrack about 8 button 352 Latency 231 Session. 308 Loop Info tab 92 Loop Mode 207. 247 Mix Paste 43. show 284 Mixing tab 296 MMC Read CD 50 Modulate 64. 63 Mixdown(s) 226 saving with video file 263 Mixdown(s). save as 276 tab 224 Multitrack View 11. 79 Music 179 Mute 304 Mute Block command 267 Mute blocks 310 Mute button 244. 325 Loop Paste 64 Loop Properties 258. 112 Normalized Values 88 Notch filter 153 O Offset 87 One Shot 93 Open 46 Open a Multitrack Session 274 Open Append 47 Open As 47 . save as 277 Mixers Window. 293 Mute Track option 251 N navigating 241 NEC (D4) 50 New 45 New Format 55 New Session 273 Next/Sun 34 Noise 190 Noise Reduction 160. brown 191 Noise. 290. 276 Loop 92 Loop Duplicate 265. 170 Noise Shaping 77 Noise. 305 Mix Down to Track (Bounce) command 251 Mix Gauge 8. 287 MIDI Trigger 352 MIDI Trigger Enable 208.ADOBE AUDITION 371 User Guide Logarithmic Energy Plot 221 Logarithmic Fades 99 Look in 47. 325 Minimum RMS Power 201 Misc tab 96 Mix Down to Empty Track N 305 Mix Down to File 263. 145. 289. 310 Merging 226 Metronome 284. 208. open 274 Session. pink 191 Noise. 327 tab 298 Microsoft ADPCM 33 MIDI Blocks 263 listing active tracks 262 setting tempo 262 transposing key 262 zooming in and out 262 MIDI from File 250. 315 MIDI In tab 232 MIDI Input Devices tab 236 MIDI Out tab 231 MIDI Output Devices tab 235 MIDI Panic Button 325 MIDI tab 253. 301 Loud 71 Low Pass 143. 280 mu-Law 34 Multichannel Encoder requirements 329 Multichannel Encoder. 159 Lower Hard Drive Reserves 58 M M/S button 286 Make Point 82 Make Range 82 Mark Deletions in Cue List 66 Master Level slider 337 Maximum Recording Time 207 Maximum RMS Power 201 Merge button 83 Merge This Take 302 Merge/Rejoin Split 267. 194 Modulate By 193 Modulation Frequency 193 Monitor Record Level(s) 24.

293 Original Artist field 90 Original Medium field 90 Origination Date 94 Origination Time 94 Originator 93 Originator Reference 94 Out button 286.d. 234. show 84 Play Looped button 23 Play to End button 22 Play/Record 225 Play/Record Buffer 217 Playback Buffers 225 Playback Devices command 253 Playback Devices tab 233 Plextor (D8) 50 Plot Style 221 Point (cue) 80 Pop Oversamples 165 Popup Menu 216 Portion bar 289 Portion Bar. 293 Output Button 244 Output Device 288 Output meters 336 P p. show 79. moving files to and from 9 Pre-Mixing 226. 248 Portion Bar. changing 38 Ranges. save 222 Peak Files 221 Peak mode 107 Peaks Cache 222 Percentage 88 Percentage Clip 71 Perception 131. 287 Pulse Train Verification 164 Punch In 306 Punch In option 264 Q Q (Bandwidth) tab 145 Q box 133 Q values 255. 276. 278 Record 23. show 197 Pink noise 191 Pitch Bender 183 Pitch Shift (preserves tempo) 186 Placekeeper. 36 Read Method 50 Real Time Preview 8 Real-Time effects about 269 assigning tracks to 270 Rebuild Wave Display Now 222 Recent Folders 46. 289 Out of Band Peaks 73 Output 119.372 INDEX Open File button 17 Open Order 226 Open Session 274 Open Waveform 275 Open/New Collection 210 Order 229. show 86. 293 . 232 Organizer Window 17 Organizer Window. 296 Presets 20. Horizontal 39. Vertical 243 Possibly Clipped Samples 200 Post-Filter 224 Pre/Post Filter 76 Pre-Filter 223 Premiere Pro.f. show 281 Pan slider 303 Pan/Expand 113 Panning Assignment selector 332 Panning Mode 226 Panning slider 292 Parametric equalizer 155 Paste 62 Paste to New 62 Pattern 299 Pause Background Mixing 327 Pause button 22 PCM 36 PCM Raw Data 36 Peak Amplitude 200 Peak Cache Files. 77. 52. 295 Placekeepers 15 Play button 22 Play List. 236. 140 Phase Analysis. 231. 241 RAW 29. defining 38. 230 Pan button 286 Pan controls 289 Pan Envelope automation 334 Pan Envelopes. 274. 291 Quick Filter 157 QuickVerb 138 R Rack Settings command 252 Range (cue) 80 Range Boundaries. 235. 51 Preview Buffer 217 Preview Buffer Size slider 338 Preview Device selection 337 Preview Format Selector 338 Preview Volume slider 336 Properties 233.

198 SampleVision 34 Save 52 Save All 53. 327 Shortcut Key 352 Shortcuts (Keyboard & MIDI Triggers) 236. 241 Session Display. 314 Snap to Frames 69 Snap to Frames (Always) 314 Snap to Loop Endpoints 314 Snap to Ruler 69. about 248 Session Files 9 about 241 Session Properties 284 Set Controller 7 305 Set Current Clipboard 62 Set Tempo 304 setting volume 263 Settings 214. save 53 Send 32-bit audio as 229 Session append to 274 close 275 new 273 open 274 save 275 save as 276 Session Display 19. Horizontal 40.ADOBE AUDITION 373 User Guide Record Enable Button 244 Recording in Edit View 41 in Multitrack View 242 Recording Buffers 225 Recording Devices command 253 Recording Devices tab 234 Recording Length 207 Refresh Effects List 187 Refresh Now 314 Remove Blocks 312 Repeat Last Command 62 Resample 54 Reset button 71 Resolution 45. convert 277 Sample Values 88 Sampler tab 94 Samples 86. Vertical 40 Run Normalize button 73 Run Script 210 S SAM 29 Sample Accurate Sync 327 Sample Rate 45. 278 Save Mixdown As 277 Save Mixdown To Video As 279 Save Multitrack Session As 276 Save Selection 53 Save Session 275 Save Session As 276 Save Waveform As 52 Sawtooth 194 SBC Read 50 Scan for Silence Now button 66 Scientific Filters 158 Script tab 205 Scripts 209 Sec Tone field 91 Secondary Temp 217 Sel/View Controls 26 show 85. 314 . full 130 Reverse 97 Revert to Saved 51 Rewind button 23 RMS Settings 201 Ruler. 76. 345 Silence 97. Track Display 249 Ruler. 273 Sample Rate. 294 Select All Blocks 312 Select All Blocks in Track N 312 Select Entire Wave 42. 65 Select View option 42 Selected Waves 305 Selection 219 Selection. 74. 189 Silence option 43 Sine 194 Slack 228 Smooth all edit boundaries by crossfading 223 Smooth auto-scrolling during playback 227 Smooth Delete and Cut Boundaries 223 SMP 34 SMPTE Enable 326 SMPTE format 86 SMPTE Start Offset 326 SMPTE tab 228 Snap to Blocks 314 Snap to Cues 69. 279 Save As 52 Save as type 52 Save copies of all associated files 276 Save extra non-audio information 53. 328. 76 Restore Defaults button 352 Resynthesis Window 323 Reverb 139 Reverb. 249 Ruler. 75.

297 Tempo Envelopes. show 291 Track Record 226 Track tabs 290.374 INDEX Snap to Zero Crossings 69 Snapping 69. replacing 263 Source Selection 49 Source Supplier field 90 Speaker placement 339 Special effects 175 Spectral Display 221 Spectral tab 219 Spectral View 38. show 85. 294 Transport controls 336 Transpose 304 Triangle 194 Trim 66. show 85. 79 Spectrum 219 Spin Up Before Extraction 51 Splicing Frequency 186 Split 267. 310 Square 194 Start Date field 91 Start Order 226 Start Recording 207 Static Peaks option 25 Statistics 199 Status Bar 27. about 61 Undo/Redo. show 214 Tool tab 205 Toolbars 16. show 290 Track Equalization Fields 245 Track Equalizer 254 Track faders 289 Track Level slider 334 Track Name Field 244 Track Number field 92 Track Pan command 252 Track Pan Field 244 Track Properties 256 Track Properties. 89. 284. 301 Undo History 58 Undo. 294 Timed Record 207 Time-Scale Stretch 93. 290. 268. 313 SND 30. show 24 . 303 Time Reference 94 Time Stretch (preserves pitch) 186 Time Window 26 Time Window. 295 Total Available Space 58 Total RMS Power 201 Track Context Menu 249 Track Controls 243 Track cue 81 Track Display Ruler 249 Track EQ Window. show 283 Tempo Matching 259 Tempo Matching Stretch Method 93 Tempo tab 297 Tempo. 295 Stereo Chorus Mode 119 Stereo Expand 114 Stereo Field Rotate 114 Stereo Phasing 129 Stop button 22 Stopping Time 228 Stretch 185 Sub Channel Level slider 333 Surround Panner 331 SVX 30 Swap Byte Order 50 Swap Channels 50 Sweeping Phaser 141 Synchronize Blocks with Edit View 326 Synchronize Cursor Across Windows 208 System tab 216 T Take History 302 Takes enabling 260 merging 260 Temp Folder 217 Tempo 93. 34 Solo button 244. 88. 311 Trim Digital Silence 69 Trim option 43 TXT 31 U Undo 217. enable 61 Upsampling quality level 223 V Valleys. 259 Tip of the Day. edit 87 Temporary Folders 217 Text Fields tab 89 Ticks per Beat 87 Ticks/beat 297 Time Offset 262. 289. 292 Track Volume command 251 Track Volume Field 244 Tracks Mixer 286 Transport Buttons 22 Transport Buttons. 293 Solo Current Track option 251 Solo Track option 251 Soundtracks.

show 295 VOC 32 Vocoder 322 Volume 298 Volume Envelopes. adjust 302 Waveform edit 301 new 45 open 46. 35 Wave Block Properties 303 dialog box 261 Wave Cache 217 Wave Display 19 Wave Display Right-Click Menu 42 Wave Display. navigating 38 Wave from File 250. 30. show 85. 303 VOX 32 W WAV 29.ADOBE AUDITION 375 User Guide Vertical Portion Bar 243 Vertical Ruler 40 Vertical Scale Format 88 Video from File 250. 79 edit 281 Wet Out 120 Wet/Dry Fields 246. show 282 White noise 191 White Progress Background 220 Window Menu . 288 Wet/Dry Mix Envelopes. show 281 Volume slider 292. 275. 294 Zoom Factor 215 Zoom in/Zoom out 304 . adjust 302 Wave Properties 89 Wave Volume. 315 Wave In tab 230 Wave Out tab 229 Wave Pan. 33. 327 WMA 35 Z Zero Crossings 66 Zoom Buttons 25 Zoom Buttons. 315 Video Window. 315 save as 52 Waveform Display 221 Waveform Statistics 199 Waveform View 38.Edit View 28 Windows Media Audio 35 Windows PCM 35 Windows Recording Mixer 209.

376 INDEX .

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